Challenging new atheist history -- The twentieth century -- Europe 1600 to 1900 -- Europe to 1600 -- Back to the present -- What's at stake.

The paper focuses on an online business ethics course that three professors (Painter-Morland, Fontrodona and Hoffman) taught together, and in which the fourth author (Rowe) participated as a student, from their respective locations on three continents. The course was conducted using Centra software, which allowed for synchronous online interaction. The class included students from Europe, South Africa and the United States. In order to assess the value of synchronous online teaching for ethics training, the paper identifies certain knowledge, skills (...) and capacities that are crucial to the moral development process within individuals. The paper argues that the online teaching method succeeds in creating an environment within which important ethical knowledge and skills might be developed. It provides an in-depth reflection on the advantages and dis-advantages of online teaching and proposes improvements on the way forward. One of the major advantages relates to its ability to facilitate cross-cultural discussion and debate on ethical issues and foster insight into contextual influences on ethics management within an international arena. (shrink)

This book celebrates the work of Patricia Werhane, an iconic figure in business ethics. This festschrift is a collection of articles that build on Werhane’s contributions to business ethics in such areas as Employee Rights, the Legacy of Adam Smith, Moral Imagination, Women in Business, the development of the field of business ethics, and her contributions to such fields as Health Care, Education, Teaching, and Philosophy. All papers are new contributions to the management literature written by well-known business ethicists, such (...) as Norman Bowie, Richard De George, Ronald Duska, Edwin Hartman, Michael Hoffman, Mollie Painter-Morland, Mark Schwartz, Andrew Wicks, and others. The volume is comprised of articles that reflect on Werhane’s work as well as build on it as a way to advance further research. At the end of the festschrift, Pat Werhane provides responses to each chapter. The first chapter of the book also includes the overview of Patricia Werhane’s work and her academic career. The book is written to appeal to management scholars and graduate students interested in the areas of Business Ethics, Modern Capitalism, and Human Rights. Patricia Werhane is one of the most distinguished figures in the field of business ethics. She was a founder of the field, she is one of its leading scholars, and she has had a profound impact on the world of business practice. Among her many accomplishments, Pat is known for her original work on moral imagination, she is an acclaimed authority on employee rights in the workplace, and she is one of the leading scholars on Adam Smith. Having been active in Academia for over 50 years, Werhane is a prolific author of over a hundred articles and book chapters, and the author or editor of twenty-seven books, including Adam Smith and his Legacy for Modern Capitalism, Moral Imagination and Management Decision-Making, and co-authored books Organization Ethics in Health Care, Alleviating Poverty Through Profitable Partnerships, Obstacles to Ethical Decision-Making, Corporate Responsibility: The American Experience, and Research Approaches to Business Ethics and Corporate Responsibility. (shrink)

The issue of boundaries in clinician–patientencounters is considered through narrativeanalysis of four clinical stories in whichboundaries crossings are a self-conscioustopic. One story is by a physician as patient,two are by physicians, and one is by apalliative care nurse. The stories arediscussed using Walter Benjamin''s distinctionbetween the painter, who maintains distance andsees the whole, and the cameraman, who usestechnology to penetrate realities and thenreassembles fragments. The essay argues thatdistance and closeness are ethical issues thatconstitute the possibility of clinicalencounters but the (...) encounter also changes theclinician''s sense of boundaries. The relevantethics of boundary decisions in most clinicalencounters are not procedural ethics but anethics of self-creation: in orienting toboundaries as doctors do, they createthemselves in their relations to others. (shrink)

"A compelling, insightful, and intimate portrait of William James as artist, philosopher, and psychologist, The Compromised Scientist explains James's emergence as a founding father of American experimental psychology. Unlike most books about James, this one emphasizes the fact that he had found a career as a painter and was not really a "buried" philosopher or psychologist. He was, in fact, an artist who was forced to compromise his urge to paint by developing a unique psychological language--the language of the (...) "stream of consciousness." Daniel W. Bjork offers an entirely new perspective on James by analyzing his famous diary as a record of his brilliant flight from art to psychology. In addition, Bjork explores the ways in which James's artistic orientation inevitably brought him into conflict with such other major psychological pioneers as Hugo Münsterberg, Edward Bradford Titchener, and James McKeen Cattell, all of whom dissented from James's psychological and professional outlook and, in particular, his enthusiastic crusade for the unconscious and psychic research. For them too, James was a "compromised scientist"--A man who had abandoned scientific standards. This indispensable study, complete with ample diary notations and illustrations, brings into new perspective the leading figure in American experimental psychology."--Provided by publisher. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Painting Outside the Lines: Patterns of Creativity in Modern ArtMatthew ZiffPainting Outside the Lines: Patterns of Creativity in Modern Art, by David W. Galenson. Cambridge: Harvard University Press, 2001, 272 pp., $29.95.The relationship between the market value of paintings and the chronological point in an artist's working life when the paintings were produced is the driving mechanism for exploring creativity and innovation in David W. Galenson's book "Painting (...) Outside the Lines: Patterns of Creativity in Modern Art. The working thesis of this book is that Modern artists have worked creatively and innovatively in one of two distinctly different manners. The terminology Galenson uses to describe these distinct ways of working are "finders" and "seekers." Finders are artists like Pablo Picasso, who at age 26, make startling and important innovations with little advance indication that such a burst is about to take place. Seekers are artists like Paul Cezanne, whospend their entire working lives engaged in the pursuit of a singular approach or achievement. The differences between these methodologies are carefully presented through the details of the working lives of a variety of Modern artists. French nineteenth century and early twentieth-century artists and mid-twentieth-century American artists are used as the source data for these comparisons.Early in the book Galenson presents lists of chronological events within the lives of artists and market valuation of their work within this chronology. The dramatic clarity of the relationships presented in this data sets the stage for the detailed information that follows. Factors that in some cases only partly, and in others nearly completely, explain an artist's way of working are offered through biographic information, information about the aesthetic and cultural milieu, and about the economic and educational structures that are predominant during the relevant time in the life of the artist.The relationship between the aesthetic and cultural milieu surrounding an artist and the capacity or inclination of an artist to be innovative is an important aspect of the book's analysis. The scope of the book is limited to Modern artists because of the shift that took place at the outset of Modern art, during the mid 1860s, that brought a strong emphasis on innovation and change for their own sake as an important characteristic within a work of art. This emphasis "created incentives for painters to produce new approaches to art" (p. 111). Prior to the time of Modern art, innovation and change were often unnecessary for an artist to be successful. Modern art introduced the demand that innovation and change be necessary ingredients in art, and therefore the search for innovation became a significant element within the work of many artists. The manner in which this search took place, as presented through the data at hand, reveals how individual artists viewed the need for innovation and change within their own [End Page 123] work. Paul Cezanne, for example, was aware of the impact that his painting was having on the art world, but he insisted that he was not yet finished with discoveries that would reveal the truest expression of his beliefs about aesthetic expression.In the American movement, "Abstract Expressionism," Galenson finds a useful counter example to the art scene in Paris. In the United States, especially during the 1940s and 1950s — the peak years of creative output by Abstract Expressionist artists — the demand for their work was quite low. There were few economically viable outlets for the work of de Kooning, Pollack, Rothko, and the others of this group. Consequently there is a shift in the chronological point at which these artists achieve market value success. Nearly all of these artists receivedrecognition at an older age than the French artists of the late nineteenth and early twentieth centuries.The thesis of the book, that there are two fundamentally different ways of working to produce works of art, is directly applicable to, and useful in, exploring issues of teaching and learning in design education. As a teacher of interior architecture I was interested to follow the details that Galenson presented in support of his analysis of the careers of numerous Modern artists. The methodological differences between seeking and... (shrink)

The visual arts operated as a touchstone for French philosopher Jean-François Lyotard, influencing his thinking on everything from epistemology to politics. Building on the recent publication of a bilingual, six-volume edition of his writings on contemporary art and artists, this special issue of_ Cultural Politics_ provides a focus on Lyotard’s aesthetics. The issue includes a review of Lyotard’s writings on art, a discussion of his early figural aesthetics, and an essay on Lyotard’s little-known work, _Pacific Wall_, as well as two (...) essays on Lyotard and music. Two previously untranslated works by Lyotard himself are also featured: the influential article “Argumentation and Presentation: The Crisis of Foundations” and the interview “What to Paint?,” given at the time of the publication of the book of the same name. Painter Leon Phillips, whose work embodies many of the attributes of painting that were most important to Lyotard, is the featured artist for the issue. Throughout, the contributors argue for the primary importance of aesthetics in understanding Lyotard’s thought. Peter W. Milne is Assistant Professor in the Department of Aesthetics at Seoul National University. (shrink)

Capturing the lively modernist milieu of Kenneth Burke's early career in Greenwich Village, where Burke arrived in 1915 fresh from high school in Pittsburgh, this book discovers him as an intellectual apprentice conversing with "the moderns." Burke found himself in the midst of an avant-garde peopled by Malcolm Cowley, Marianne Moore, Jean Toomer, Katherine Anne Porter, William Carlos Williams, Allen Tate, Hart Crane, Alfred Stieglitz, and a host of other fascinating figures. Burke himself, who died in 1993 at the age (...) of 96, has been hailed as America's most brilliant and suggestive critic and the most significant theorist of rhetoric since Cicero. Many schools of thought have claimed him as their own, but Burke has defied classification and indeed has often been considered a solitary, eccentric genius immune to intellectual fashions. But Burke's formative work of the 1920s, when he first defined himself and his work in the context of the modernist conversation, has gone relatively unexamined. Here we see Burke living and working with the crowd of poets, painters, and dramatists affiliated with Others magazine, Stieglitz's "291" gallery, and Eugene O'Neill's Provincetown Players; the leftists associated with the magazines The Masses and Seven Arts; the Dadaists; and the modernist writers working on literary journals like The Dial, where Burke in his capacity as an associate editor saw T. S. Eliot's "The Wasteland" into print for the first time and provided other editorial services for Thomas Mann, e.e. cummings, Ezra Pound, and many other writers of note. Burke also met the iconoclasts of the older generation represented by Theodore Dreiser and H. L. Mencken, the New Humanists, and the literary nationalists who founded Contact and The New Republic. Jack Selzer shows how Burke's own early poems, fiction, and essays emerged from and contributed to the modernist conversation in Greenwich Village. He draws on a wonderfully rich array of letters between Burke and his modernist friends and on the memoirs of his associates to create a vibrant portrait of the young Burke's transformation from aesthete to social critic. (shrink)

Chinese export painters learned and adapted the medium of photography by grafting the new technology onto traditional artistic conventions - employing both brush and shutter. The essays in this volume shed light on the birth of a medium.

Professor Webster's attempt to prove that south Italian vases of the middle of the fourth century can be used as evidence of Athenian theatrical arrangements of half or three-quarters of a century earlier leaves me unconvinced. It, is true that, as he says, ‘the plays’ which the vases illustrate ‘come from Athens'— at least, most of them probably did: but a number of scenes on the vases are not scenes presented in the plays at all, but are scenes suggested to (...) the painter by descriptions in messengers’ speeches, or, quite possibly, by the story dramatized in the plays, but not by the Athenian poet's particular treatment of the story; the plays —and the stories made popular by them—had been the common property of the Greek world for more than half a century, and there is no reason why Italian producers should have gone back to the original production in Athens, still less why Italian painters should have done so, even if they knew what the original production was like. (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)

Since the death of Cézanne in 1906, there has been throughout the world of European art a general reawakening of a sense of the necessity for constructive qualities in painting. Whereas our fathers were content to speak of the “composition” of a picture, in our own day it is more usual to speak of its construction. Composition, after all, is a comparatively loose and elastic term implying a generally harmonious arrangement of the massed effect of light and dark, a juxtaposition (...) of contrasting and balanced tones, sufficiently logical in their placing as to give a general sense of repose and unity to the work as a whole. Composition was generally understood to be dependent upon instinct and good taste on the part of the painter, and, as such, it was looked upon as a thing that could not be taught by rule of thumb. Like a sense of colour, a student either had it or he had not; and, beyond attempting to guard him from glaring error, there was little that a teacher of art could do for him in this department of his training. Perspective, which is governed by definite mathematical rules, could be taught in detail as an aid to composition, but the sense of composition itself must be allowed to develop in the student according to his talent for this side of his work. Composition classes were indeed a part of his curriculum, but the criticism which a student received at such classes amounted, in practice, to little more than general advice, given by the teacher, from his ripe experience and his developed sense oftherightandwrong in this matter, to the unmatured taste of the student. It was understood that composition could not exist without a general sense of order, but it was understood in a much looser sense than is implied by the comparatively modern use of the word “construction” that has replaced it. The artist of the modern school or schools of thought will have none of the old happy-golucky, loose thinking in the matter of construction. (shrink)

Material acquisition—buying, inheriting, being given—and nonmaterial—learning a word, assimilating a form—have been likened, and in both, meaningful acquisition cannot take place without a taxonomy, a scheme of categories into which the acquired element can be fitted. Then with these elements—both material and nonmaterial—we create a world or build and project a self, the painter and the interior decorator equally manipulating the elements in a vocabulary. The coarseness of such an outlook seems to bludgeon away long-established fine distinctions. We need (...) not deny, however, that there may be a kind of "indifference" in regard to "the real existence of the thing" which allows us "to play the part of judge in matters of taste," as Kant would have it,1 we need not deny the existence of an "aesthetic attitude: it is just that such indifference and such an attitude probably don't have much to do with our day-to-day experience of artifacts and perhaps needn't. The "aesthetic attitude" was not long ago defined by Jerome Stolnitz as "disinterested and sympathetic attention to and contemplation of any object of awareness whatever, for its own sake alone."2 Stolnitz is at pains to distinguish the aesthetic attitude from "interests" with which it may be preferable to confuse it. "One of them," he writes, "is the interest in owning a work of art for the sake of pride or prestige". And again, "Another nonaesthetic interest is the 'cognitive,' i.e., the interest in gaining knowledge about an object". Both these interests sound rather acquisitive, and let us consider the "aesthetic attitude" as somehow tied in everyday practice to the bundle of "acquiring" activities. · 1. Immanuel Kant, The Critique of Judgment, trans. James Creed Meredith, p. 43.· 2. Jerome Stolnitz, Aesthetics and the Philosophy of Art Criticism, excerpted in Introductory Readings in Aesthetics, ed. John Hospers, p. 19; all further citations in text. Hiram W. Woodward, Jr. is a lecturer in the department of the history of art at the University of Michigan. He is editor of Eighty Works in the University of Michigan Museum of Art: A Handbook and coeditor of Barabudur: History and Significance of a Buddhist Monument. (shrink)

In Ox. Pap. xxxii i ff., no. 2617, Mr. Lobel published fragments which he shows reason to believe are from Stesichorus’ Geryoneis. Further work has been done on them by Professor D. L. Page and Mr. W. S. Barrett, and the more substantial fragments are included in an Appendix to Page's Lyrica Graeca Selecta . Fr. 4, the most considerable piece, describes how, in Lobel's words: ‘a person, who I do not think there is much room to doubt is Heracles, (...) delivers a secret attack on somebody which consists in shooting him through the head. Though only one “forehead”, one “crown”, and one “neck” are mentioned and the Geryones of Stesichorus had six hands and six feet and therefore presumably three heads, as elsewhere , the possibility that Geryones is here in question does not seem to be ruled out.’. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Destruction and Transcendence in W. G. SebaldMark R. McCullohIFor all the Saturnine pessimism of W. G. Sebald's application of Walter Benjamin's view of historical process (an attitude toward history expounded upon at length in an influential work by Susan Sontag), the author's sense of irony about the human predicament is irrepressible. 1 Human beings seem destined to remain prisoners of various paradoxes—they both create and destroy, they are capable (...) of acts of love as well as bitterness and hate, they make efforts to document and communicate, but at the same time they tend to forget and are given to suppressing the truth, they are driven by ideals, yet remain hobbled by imperfection. Art and music, passed on from generation to generation, seem to be the most common way that human beings transcend the strictures of their imperfections, inadequacies, and their finitude. And to the extent that art indeed survives over time, and continues to be perceived and appreciated by beholders, the aesthetic enterprise succeeds. However, ultimately, as the Book of Ecclesiastes and Shelley's "Ozymandias" remind us, all human endeavor is in vain, and, to assume the perspective of physical cosmology for a moment—and in this regard Benjamin's cosmic vision appears painfully accurate—our speck of earth, dwarfed by a vast universe the true immensity of which has been revealed by the Hubble Telescope, will one day be ground to dust and debris like the rings of Saturn, and our sun will exist only as a burned-out hulk. But such a future world, devoid of beholders, and devoid of creators and their artifacts, is not Sebald's primary subject, even though it clearly forms the teleological backdrop for his third novel, The Rings of Saturn (1995, English version 1998). Rather, Sebald pursues his art in spite of a terminal prospect that will ultimately confront our [End Page 395] planet and solar system. His primary subject, the effect of trauma on individual and collective experience, is instead closely linked with the passing of Europe as a tradition, as an idea—as an idiosyncratic and innovative, but inherently corrupt contributor to cultural history. In the course of his narratives he also addresses the redemptive role of art in memorializing the past and attempting to capture the passing present. In both respects he attends to the humane and the sublime as well as the tragic and the grotesque.Paraphrasing the art historian Svetlana Alpers, one early reviewer of Sebald's novel Austerlitz (2001) points out the self-contradictory nature of preserving the transient moment in art:Why create visual art at all when everything on earth must be represented in its inexorable transitoriness; why paint earthly scenes with such incredible care and precision as if they were permanent? 2The care and precision of the painter's craft (in this case, the Dutch still-life painter David Bailly) are devoted to the representation of a scene that is by its very nature transient and even tenuous—like the scenes of sublime beauty in Sebald's fiction, the artist's depiction "courts and admits" its own fragility. What Bailly does visually, Sebald attempts in words. Take, for instance, the following passage from Vertigo, Sebald's first novel, which was titled in German (with considerably more irony) Schwindel. Gefühle 3 :At a hairpin bend I looked out of the turning bus down into the depths below and could see the turquoise surfaces of the Ferstein and Smaranger lakes, which, even when I was a child, on our first excursions into the Tyrol, had seemed to me the essence of all conceivable beauty.(p. 176)The author has already prepared the reader for this moment of awe by remarking on the otherworldly "slow-motion quality" of the waterfalls descending from the mountain cliffs and on the boulders in their screes spreading downwards into the wooded hillsides, "screes which reached from the mountains down into the forests like pale fingers into dark hair..." (p. 176). Examined closely, the passage in question suggests both the enduring power of natural beauty and, especially with its precise reference to an automobile long since out of production and unfamiliar to... (shrink)

Music, art, and poetry were profound forces in Hermann Cohen’s thought. If we attempt to comprehend this philosopher, whose name is synonymous with the School of Marburg, that small charming town in Hesse from which Kant’s works and influence spread abroad like the magic of an irresistible melody, then we are forced to appreciate those lovers of music and art that brought him the friendship of the violinist Joseph Joachim, the admiration of painters such as Max Liebermann, Lenid Pasternak, the (...) father of Boris, and others whose names are now distant from us. European culture is alive in philosophy, not merely as illustrative references, but as the achievements of the mind devoted to reason and the power of imagination. This culture was not simply created by a mind that ignored the senses. The body was appreciated as the source of subtle and artistic movement, its power to build and form depended upon the grace and delicacy of the hands, sound awakened in us the inexhaustible dimension and possibilities of communication and relationship, sight the sensitivity to colors, to a variety of architectural forms that evoke a sense of beauty and sublimity by their effect and receptivity, taste and touch cultivate form and allow us to receive and be receptive with a heightened sense of delicacy and appreciation allowing form to be given to us in indescribable and unexpected ways. Through the senses we develop that intimacy with others that the mind can only define and analyze but never feel. Cohen has come forth from his detractors and even from his admirers as the distant and unapproachable “professor” of a forgotten philosophical “system.” He did his service in Kant’s army of interpreters adding volumes of interpretation and appreciation to the old master. Here he paid his dues to his profession and university. Cohen was a cultured man, a deeply sensitive individual, a fine product of artistic sensitivity and generosity. When he turned to the arts, when he moved to music, to religion, to social activity, the humaneness of his personality overcame the professor in him; it showed that tenderness for human relationship, that deep respect for love that Cohen found in his beloved Wolfgang Amadeus Mozart, whose operas he believed reflected a sensitivity to moral and aesthetic values. (shrink)

Music, art, and poetry were profound forces in Hermann Cohen’s thought. If we attempt to comprehend this philosopher, whose name is synonymous with the School of Marburg, that small charming town in Hesse from which Kant’s works and influence spread abroad like the magic of an irresistible melody, then we are forced to appreciate those lovers of music and art that brought him the friendship of the violinist Joseph Joachim, the admiration of painters such as Max Liebermann, Lenid Pasternak, the (...) father of Boris, and others whose names are now distant from us. European culture is alive in philosophy, not merely as illustrative references, but as the achievements of the mind devoted to reason and the power of imagination. This culture was not simply created by a mind that ignored the senses. The body was appreciated as the source of subtle and artistic movement, its power to build and form depended upon the grace and delicacy of the hands, sound awakened in us the inexhaustible dimension and possibilities of communication and relationship, sight the sensitivity to colors, to a variety of architectural forms that evoke a sense of beauty and sublimity by their effect and receptivity, taste and touch cultivate form and allow us to receive and be receptive with a heightened sense of delicacy and appreciation allowing form to be given to us in indescribable and unexpected ways. Through the senses we develop that intimacy with others that the mind can only define and analyze but never feel. Cohen has come forth from his detractors and even from his admirers as the distant and unapproachable “professor” of a forgotten philosophical “system.” He did his service in Kant’s army of interpreters adding volumes of interpretation and appreciation to the old master. Here he paid his dues to his profession and university. Cohen was a cultured man, a deeply sensitive individual, a fine product of artistic sensitivity and generosity. When he turned to the arts, when he moved to music, to religion, to social activity, the humaneness of his personality overcame the professor in him; it showed that tenderness for human relationship, that deep respect for love that Cohen found in his beloved Wolfgang Amadeus Mozart, whose operas he believed reflected a sensitivity to moral and aesthetic values. (shrink)

In this highly original work, Teed Rockwell rejects both dualism and the mind-brain identity theory. He proposes instead that mental phenomena emerge not merely from brain activity but from an interacting nexus of brain, body, and world. The mind can be seen not as an organ within the body, but as a "behavioral field" that fluctuates within this brain-body-world nexus. If we reject the dominant form of the mind-brain identity theory -- which Rockwell calls "Cartesian materialism" -- and accept this (...) new alternative, then many philosophical and scientific problems can be solved. Other philosophers have flirted with these ideas, including Dewey, Heidegger, Putnam, Millikan, and Dennett. But Rockwell goes further than these tentative speculations and offers a detailed alternative to the dominant philosophical view, applying pragmatist insights to contemporary scientific and philosophical problems. Rockwell shows that neuroscience no longer supports the mind-brain identity theory because the brain cannot be isolated from the rest of the nervous system; moreover, there is evidence that the mind is hormonal as well as neural. These data, and Rockwell's reanalysis of the concept of causality, show why the borders of mental embodiment cannot be neatly drawn at the skull, or even at the skin. Rockwell then demonstrates how his proposed view of the mind can resolve paradoxes engendered by the mind-brain identity theory in such fields as neuroscience, artificial intelligence, epistemology, and philosophy of language. Finally, he argues that understanding the mind as a "behavioral field" supports the new cognitive science paradigm of dynamic systems theory. (shrink)

I develop an expressivist account of verbal disagreements as practical disagreements over how to use words rather than factual disagreements over what words actually mean. This account enjoys several advantages over others in the literature: it can be implemented in a neo-Stalnakerian possible worlds framework; it accounts for cases where speakers are undecided on how exactly to interpret an expression; it avoids appeals to fraught notions like subject matter, charitable interpretation, and joint-carving; and it naturally extends to an analysis of (...) metalinguistic negotiations. (shrink)

Much has been written on whether practical knowledge (knowledge-how) reduces to propositional knowledge (knowledge-that). Less attention has been paid to what we call deliberative knowledge (knowledge-to), i.e., knowledge ascriptions embedding other infinitival questions, like _where to meet_, _when to leave_, and _what to bring_. We offer an analysis of knowledge-to and argue on its basis that, regardless of whether knowledge-how reduces to knowledge-that, no such reduction of knowledge-to is forthcoming. Knowledge-to, unlike knowledge-that and knowledge-how, requires the agent to have formed (...) certain conditional intentions. We discuss the philosophical implications for knowledge-how, deliberative questions, and virtue. (shrink)

In light of the problem of logical omniscience, some scholars have argued that belief is question-sensitive: agents don't simply believe propositions but rather believe answers to questions. Hoek (2022) has recently developed a version of this approach on which a belief state is a "web" of questions and answers. Here, we present several challenges to Hoek's question-sensitive account of belief. First, Hoek's account is prone to very similar logical omniscience problems as those he claims to address. Second, the link between (...) belief and action he proposes is too rigid. We close by sketching a generalization of the account that can meet these challenges. (shrink)

A common objection to the very idea of conceptual engineering is the topic continuity problem: whenever one tries to “reengineer” a concept, one only shifts attention away from one concept to another. Put differently, there is no such thing as conceptual revision: there’s only conceptual replacement. Here, I show that topic continuity is compatible with conceptual replacement. Whether the topic is preserved in an act of conceptual replacement simply depends on what is being replaced (a conceptual tool or a conceptual (...) role) and what the topic under discussion is. Thus, the topic continuity problem only arises from a failure to specify these two things. (shrink)

This is an encyclopedia entry on consequentializing. It explains what consequentializing is, what makes it possible, why someone might be motivated to consequentialize, and how to consequentialize a non-consequentialist theory.

Translated and with an Introduction by Daniel W. Smith Afterword by Tom Conley Gilles Deleuze had several paintings by Francis Bacon hanging in his Paris apartment, and the painter’s method and style as well as his motifs of seriality, difference, and repetition influenced Deleuze’s work. This first English translation shows us one of the most original and important French philosophers of the twentieth century in intimate confrontation with one of that century’s most original and important painters. In considering Bacon, (...) Deleuze offers implicit and explicit insights into the origins and development of his own philosophical and aesthetic ideas, ideas that represent a turning point in his intellectual trajectory. First published in French in 1981, _Francis Bacon_ has come to be recognized as one of Deleuze’s most significant texts in aesthetics. Anticipating his work on cinema, the baroque, and literary criticism, the book can be read not only as a study of Bacon’s paintings but also as a crucial text within Deleuze’s broader philosophy of art. In it, Deleuze creates a series of philosophical concepts, each of which relates to a particular aspect of Bacon’s paintings but at the same time finds a place in the “general logic of sensation.” Illuminating Bacon’s paintings, the nonrational logic of sensation, and the act of painting itself, this work—presented in lucid and nuanced translation—also points beyond painting toward connections with other arts such as music, cinema, and literature. _Francis Bacon_ is an indispensable entry point into the conceptual proliferation of Deleuze’s philosophy as a whole. Gilles Deleuze was professor of philosophy at the University of Paris, Vincennes–St. Denis. He coauthored _Anti-Oedipus_ and _A Thousand Plateaus_ with Félix Guattari. These works, as well as _Cinema 1, Cinema 2, The Fold, Proust and Signs_, and others, are published in English by Minnesota. Daniel W. Smith teaches in the Department of Philosophy at Purdue University. (shrink)

A supplemental document for "Metalinguistic Gradability".

Hegel broke open the deadliest assumptions of Western thought by conceiving being as becoming and consciousness as the social-subjective relation of spirit to itself, yet his white Eurocentric conceits were grotesquely inflated even by the standards of his time. With In a Post-Hegelian Spirit, Gary Dorrien emphasizes both sides of this Hegelian legacy, contending that it takes a great deal of digging and refuting to recover the parts of Hegel that still matter for religious thought. By distilling his signature argument (...) about the role of post-Kantian idealism in modern Christian thought, Dorrien fashions a liberationist form of religious idealism: a post-Hegelian religious philosophy that is simultaneously both Hegelian as it expounds a fluid, holistic, open, intersubjective, ambiguous, tragic, and reconciliatory idea of revelation and post-Hegelian, as it rejects the deep-seated flaws in Hegel's thought. Dorrien mines Kant, Schleiermacher, and Hegel as the foundation of his argument about intellectual intuition and the creative power of subjectivity. After analyzing critiques of Hegel by SA, ren Kierkegaard, Karl Marx, Karl Barth, and Emmanuel Levinas, Dorrien contends that though these monumental figures were penetrating in their assessments, they appear one-sided compared to Hegel. In a Post-Hegelian Spirit further engages with the personal idealist tradition founded by Borden Parker Bowne, the process tradition founded by Alfred North Whitehead, and the daring cultural contributions of Paul Tillich, W.E.B. Du Bois, Martin Luther King, Jr., Rosemary Radford Ruether, David Tracy, Peter Hodgson, Edward Farley, Catherine Keller, and Monica Coleman. (shrink)

This is the second part of a two-part series on the logic of hyperlogic, a formal system for regimenting metalogical claims in the object language (even within embedded environments). Part A provided a minimal logic for hyperlogic that is sound and complete over the class of all models. In this part, we extend these completeness results to stronger logics that are sound and complete over restricted classes of models. We also investigate the logic of hyperlogic when the language is enriched (...) with hyperintensional operators such as counterfactual conditionals and belief operators. (shrink)

This work aims to describe how developments in thinking on evolutionary biology require re-assessment of initial rejection of the relevance and applicability of neo-Darwinian evolution to the Gaia hypothesis.