J. JUDD OWEN AND JEFFREY STOUT SUGGEST THE NEED TO RETHINK OUR understanding of the normative commitments of liberal democracy in response to recent challenges from its "cultured despisers". In this essay I argue that Owen and Stout fail to redeem liberal democracy against these critics because they reject the possibility of constitutional neutrality with respect to an indeterminate plurality of religions. As a result, a religious test on citizenship is inevitable under any democratic constitution expressed in their terms, and (...) this test lays liberal democracy open to the despisers' main line of attack. As an alternative, I offer a defense of constitutional neutrality that is based on the work of Franklin I. Gamwell, who has developed a compound conception of justice for this purpose. Gamwell systematically distinguishes between formative and substantive conceptions of justice and the role they play in a theory of constitutional democracy. On Gamwell's account, a democratic constitution expressed as a formative conception of justice will be neutral with respect to all substantive moral disagreement. As such, it can be consistently affirmed by the adherents of an indeterminate plurality of religions. This account of liberal democracy avoids a religious test on citizenship and therefore can overcome the core objection raised against it by its contemporary critics. (shrink)

The avocado (Persea americana) is a major crop commodity worldwide. Moreover, avocado, a paleopolyploid, is an evolutionary “outpost” among flowering plants, representing a basal lineage (the magnoliid clade) near the origin of the flowering plants themselves. Following centuries of selective breeding, avocado germplasm has been characterized at the level of microsatellite and RFLP markers. Nonetheless, little is known beyond these general diversity estimates, and much work remains to be done to develop avocado as a major subtropical‐zone crop. Among the goals (...) of avocado improvement are to develop varieties with fruit that will “store” better on the tree, show uniform ripening and have better post‐harvest storage. Avocado transcriptome sequencing, genome mapping and partial genomic sequencing will represent a major step toward the goal of sequencing the entire avocado genome, which is expected to aid in improving avocado varieties and production, as well as understanding the evolution of flowers from non‐flowering seed plants (gymnosperms). Additionally, continued evolutionary and other comparative studies of flower and fruit development in different avocado strains can be accomplished at the gene expression level, including in comparison with avocado relatives, and these should provide important insights into the genetic regulation of fruit development in basal angiosperms. BioEssays 30:386–396, 2008. © 2008 Wiley Periodicals, Inc. (shrink)

In Testing for Athlete Citizenship: Regulating Doping and Sex in Sport, Kathryn E. Henne provides ‘a genealogical account of anti-doping regulation by questioning the meanings we take from sport’ (...

Truth by convention, once thought to be the foundation of a uniquely promising approach to explaining our access to the truth in nonempirical domains, is nowadays widely considered an absurdity. Its fall from grace has been due largely to the influence of an argument that can be sketched as follows: our linguistic conventions have the power to make it the case that a sentence expresses a particular proposition, but they can’t by themselves generate truth; whether a given proposition is true—and (...) so whether the sentence that expresses it is true—is a matter of what the world is like, which means it isn’t a matter of convention alone. The consensus is that this argument is decisive against truth by convention. Strikingly, though, it has rarely been formulated with much precision. Here I provide a new rendering of the argument, one that reveals its structure and makes transparent just what assumptions it requires, and then I assess conventionalists’ prospects for resisting each of those assumptions. I conclude that the consensus is mistaken: contrary to what is almost universally thought, there remains a promising way forward for the conventionalist project. Along the way, I clarify conventionalists’ commitments by thinking about what truth by convention would need to be like in order for conventionalism to do the epistemological work it’s intended to do. (shrink)

I argue that Quinean naturalists’ holism-based arguments against analyticity and apriority are more difficult to resist than is generally supposed, for two reasons. First, although opponents of naturalism sometimes dismiss these arguments on the grounds that the holistic premises on which they depend are unacceptably radical, it turns out that the sort of holism required by these arguments is actually quite minimal. And second, although it’s true, as Grice and Strawson pointed out long ago, that these arguments can succeed only (...) if there isn’t any principled criterion for meaning change, such a criterion turns out to be hard to come by. David Chalmers has recently argued that such a criterion must exist, since the norms governing belief revision are subject to obvious exceptions that can be explained only by appeal to meaning change. But this, I argue, is incorrect: if choices about how to use language are themselves rationally assessable, then there are no such exceptions to be explained. To show that this is so, I formulate a new kind of coherence norm that may be useful for reasoning formally about the relationship between meaning and evidence. (shrink)

Like Laland et al., I think Mayr’s distinction is problematic, but I identify a further problem with it. I argue that Mayr’s distinction is a false dichotomy, and obscures an important question about evolutionary change. I show how this question, once revealed, sheds light on some debates in evo-devo that Laland et al.’s analysis cannot, and suggest that it provides a different view about how future integration between biological disciplines might proceed.

Sensitivity has sometimes been thought to be a highly epistemologically significant property, serving as a proxy for a kind of responsiveness to the facts that ensure that the truth of our beliefs isn’t just a lucky coincidence. But it's an imperfect proxy: there are various well-known cases in which sensitivity-based anti-luck conditions return the wrong verdicts. And as a result of these failures, contemporary theorists often dismiss such conditions out of hand. I show here, though, that a sensitivity-based understanding of (...) epistemic luck can be developed that respects what was attractive about sensitivity-based approaches in the first place but that's immune to these failures. (shrink)

A Benacerraf–Field challenge is an argument intended to show that common realist theories of a given domain are untenable: such theories make it impossible to explain how we’ve arrived at the truth in that domain, and insofar as a theory makes our reliability in a domain inexplicable, we must either reject that theory or give up the relevant beliefs. But there’s no consensus about what would count here as a satisfactory explanation of our reliability. It’s sometimes suggested that giving such (...) an explanation would involve showing that our beliefs meet some modal condition, but realists have claimed that this sort of modal interpretation of the challenge deprives it of any force: since the facts in question are metaphysically necessary and so obtain in all possible worlds, it’s trivially easy, even given realism, to show that our beliefs have the relevant modal features. Here I show that this claim is mistaken—what motivates a modal interpretation of the challenge in the first place also motivates an understanding of the relevant features in terms of epistemic possibilities rather than metaphysical possibilities, and there are indeed epistemically possible worlds where the facts in question don’t obtain. (shrink)

Recent work by Brian Skyrms offers a very general way to think about how information flows and evolves in biological networks—from the way monkeys in a troop communicate to the way cells in a body coordinate their actions. A central feature of his account is a way to formally measure the quantity of information contained in the signals in these networks. In this article, we argue there is a tension between how Skyrms talks of signalling networks and his formal measure (...) of information. Although Skyrms refers to both how information flows through networks and that signals carry information, we show that his formal measure only captures the latter. We then suggest that to capture the notion of flow in signalling networks, we need to treat them as causal networks. This provides the formal tools to define a measure that does capture flow, and we do so by drawing on recent work defining causal specificity. Finally, we suggest that this new measure is crucial if we wish to explain how evolution creates information. For signals to play a role in explaining their own origins and stability, they can’t just carry information about acts; they must be difference-makers for acts. _1_ Signalling, Evolution, and Information _2_ Skyrms’s Measure of Information _3_ Carrying Information versus Information Flow _3.1_ Example 1 _3.2_ Example 2 _3.3_ Example 3 _4_ Signalling Networks Are Causal Networks _4.1_ Causal specificity _4.2_ Formalizing causal specificity _5_ Information Flow as Causal Control _5.1_ Example 1 _5.2_ Examples 2 and 3 _5.3_ Average control implicitly ‘holds fixed’ other pathways _6_ How Does Evolution Create Information? _7_ Conclusion Appendix >. (shrink)

The thesis that agents should calibrate their beliefs in the face of higher-order evidence—i.e., should adjust their first-order beliefs in response to evidence suggesting that the reasoning underlying those beliefs is faulty—is sometimes thought to be in tension with Bayesian approaches to belief update: in order to obey Bayesian norms, it’s claimed, agents must remain steadfast in the face of higher-order evidence. But I argue that this claim is incorrect. In particular, I motivate a minimal constraint on a reasonable treatment (...) of the evolution of self-locating beliefs over time and show that calibrationism is compatible with any generalized Bayesian approach that respects this constraint. I then use this result to argue that remaining steadfast isn’t the response to higher-order evidence that maximizes expected accuracy. (shrink)

Recent work by Brian Skyrms offers a very general way to think about how information flows and evolves in biological networks — from the way monkeys in a troop communicate, to the way cells in a body coordinate their actions. A central feature of his account is a way to formally measure the quantity of information contained in the signals in these networks. In this paper, we argue there is a tension between how Skyrms talks of signalling networks and his (...) formal measure of information. Although Skyrms refers to both how information flows through networks and that signals carry information, we show that his formal measure only captures the latter. We then suggest that to capture the notion of flow in signalling networks, we need to treat them as causal networks. This provides the formal tools to define a measure that does capture flow, and we do so by drawing on recent work defining causal specificity. Finally, we suggest that this new measure is crucial if we wish to explain how evolution creates information. For signals to play a role in explaining their own origins and stability, they can’t just carry information about acts: they must be difference-makers for acts. (shrink)

Hilary Greaves and David Wallace argue that conditionalization maximizes expected accuracy and so is a rational requirement, but their argument presupposes a particular picture of the bridge between rationality and accuracy: the Best-Plan-to-Follow picture. And theorists such as Miriam Schoenfield and Robert Steel argue that it's possible to motivate an alternative picture—the Best-Plan-to-Make picture—that does not vindicate conditionalization. I show that these theorists are mistaken: it turns out that, if an update procedure maximizes expected accuracy on the Best-Plan-to-Follow picture, it's (...) guaranteed to maximize expected accuracy on the Best-Plan-to-Make picture as well, in which case moving from the former to the latter can't help us avoid the conclusion that conditionalization is a rational requirement. If there's a problem with Greaves and Wallace’s argument, it must lie elsewhere. (shrink)

One common attitude toward abstract objects is a kind of platonism: a view on which those objects are mind-independent and causally inert. But there's an epistemological problem here: given any naturalistically respectable understanding of how our minds work, we can't be in any sort of contact with mind-independent, causally inert objects. So platonists, in order to avoid skepticism, tend to endorse epistemological theories on which knowledge is easy, in the sense that it requires no such contact—appeals to Boghossian’s notion of (...) epistemic analyticity are particularly common here, as are appeals to some broadly pragmatic account of the good standing of basic beliefs. I argue, though, that these appeals are hopeless: an argument adapted from the Benacerraf–Field challenge shows that, even if some such theory can deliver the verdict that our beliefs about abstract objects have some prima facie good standing, this good standing will inevitably be defeated. (shrink)

Toward the end of Ender's Game, after the manipulations of the Battle School officials stand exposed, Ender Wiggin must face the terrible consequences of what has really been going on during the last simulation. In the spirit of diplomacy, political leaders decide that Ender will not return home, since his presence on Earth could spark a war. Instead, he will be part of the pioneering groups launched out into space to explore and to establish settlements on the “bugger worlds.” We (...) gradually realize that Ender has another destiny‐revealed through the significant philotic connection that the Formic hive‐queen has made with him‐the new role of Speaker for the Dead. The special nature of his connection with the buggers is the real reason Ender cannot go home. In searching for a way to bring back the Formics, Ender has to establish a new community. (shrink)

This chapter contains sections titled: 7 a.m.: These Boots Aren't Made for Walking Dressing for (Sexual) Success Shamefulness and the Walk of Shame You Can Walk, But You Can't Hide (The Shame).

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)

Readers of reports on ethical failures by four-star general officers must wonder, “Don’t they have staffs to ensure that the general follows ethics rules?” The Department of Defense publishes robust ethics guidance in several documents; however, a staff’s best efforts to implement this guidance may fail to make an impression on a senior leader who is susceptible to the “Bathsheba syndrome,” an allusion to the biblical account where the prophet Nathan rebuked King David for his moral failings. This paper proposes (...) a methodology to enable senior headquarters staffs to play the role of Nathan in supporting ethical behaviors by high-level officers. It examines the mechanisms that embed ethical behavior within members of those staffs in carrying out their three principal roles of advising, scheduling, and transporting the four-star officer. The authors offer a framework based on an ethical infrastructure of organizational climate that focuses the staff’s daily efforts to mitigate risk across seven ethical “danger areas” that threaten ethical failures by senior officers. (shrink)

In one of the televised debates among Republican primary candidates for the 2012 U.S. presidential election, moderator Wolf Blitzer presented this hypothetical case to candidate Ron Paul:A healthy 30 year old young man has a good job, makes a good living, but decides — you know what — ‘I’m not going to spend 200 or 300 dollars a month for health insurance because I’m healthy, I don’t need it.’ But something terrible happens, all of a sudden he needs it. Who’s (...) going to pay if he goes into a coma?Paul, known for his libertarian views, initially responded that the patient “should assume responsibility for himself,” and that he should have purchased a major medical policy before he became ill. (shrink)

Object-oriented ontology has emerged as an academic field primarily devoted to opening inquiry into the relationship between human and nonhuman objects. By treating human and nonhuman things as ontologically coequal, this emerging philosophical school has rejected the correlationist and anthropocentric tendencies of most ethical systems. However, as objects expand and multiply, some become so big that they can’t be seen, understood, or described in the ordinary spatiotemporal sense. Precisely because they are here but cannot be consistently experienced, these unique objects (...) have severely complicated our lifeworld. For example, global warming can be remedially understood as a sum of many small objects.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Wittgenstein’s PrefaceBrett BourbonIn his preface to Philosophical Investigations, Wittgenstein admits his failure to make his book anything more than an interrelated collection of remarks: "After several unsuccessful attempts to weld my results together into... a whole, I realized that I should never succeed. The best I could write would never be more than philosophical remarks." The fragmented character of Investigations is matched by its other formal oddities and difficulties: (...) its metaphors, its cryptic evocative obscurity about some things and its linguistic precision about others, its dramatization of philosophical positions in stories, in hypothetical worlds, and in the role of the interlocutor(s). Our initial and continual problem in reading Investigations is to understand the reason for its form, and to justify this form relative to its philosophical concerns and methods. I will argue that the justification of the form of Investigations comes down to a single question: how do we take up Wittgenstein's example—in thinking and in confusion—without mimicking him?IThe justification pursued in the preface bears affinities with theological justification, defined as our becoming righteous relative to God, as Calvin characterizes it, "an acceptation, whereby God receiving us into [End Page 428] favour, taketh us for righteous" (Institutes III. xi. §2).1 Righteousness as a mark of acceptation, the very tone of "righteousness" and God's power of acceptation, have no direct counterparts in Wittgenstein's philosophy. Philosophical justification does not have a doctrinal foundation that would establish any particular content nor any special relation between the pursuit of that justification (through philosophy) and its fulfillment, even hypothetically, in some possible acknowledgment of righteousness. The seriousness betrayed by Investigations need for justification, however, is expressed in the moral fervor of Wittgenstein's philosophizing. It is also his philosophical goal to encourage a kind of acceptation that the ground of our involvement in the world, in what constrains and confuses us, is no more than how we live and what we are: "Instead of the unanalyzsable, specific, indefinable; the fact that we act in such-and-such ways, e.g. punish certain actions, establish the state of affairs thus and so, give orders, render accounts, describe colours, take an interest in other's feelings. What has to be accepted, the given—it might be said—are facts of living" (Remarks on the Philosophy of Psychology, §630; c.f. PI, p. 226d).2 The translators comment in a footnote that a variant for "facts of living" in Wittgenstein's manuscript is "forms of life." What has to be accepted are forms of life.The form of Investigations is justified as part of a discovery, with or without a supporting theology, of how to move ourselves toward some greater form of perfection (although not to reach it). The Protestant cast of this justification, in Wittgenstein's case, is just (and I wouldn't want to extend it further) that while this justification is achieved by virtue of our effort, it is not effort towards the world, but towards our intransigent will, and that the grace that might enable our work is less a gift, than a condition within which we can struggle.3 Thus, "what has to be overcome," in philosophy, "is not the difficulty of the understanding but of the will" (CV, p.17).4 Philosophy for Wittgenstein is a form of self-education. One works on the will in order to see differently: but the will is neither a thing nor a faculty. Working on the will is not a psychological project of self-reform, but a reconstitution of our attitude toward what we take as necessary. We can describe such attitudes with the vocabulary of the passions by which express or curb our will: devotion, derision, hope, fear, confidence, indignation, pride, repentance, emulation, gratitude, consternation, daring, timidity, and so on. And thus "philosophy is a work on the will" is kind of maxim to help us remember a kind of attitude, purpose, and justification.I will derive an agnostic notion of justification from its Protestant [End Page 429] theological form, retaining its moral force and claim on our person, but without psychologizing it, with minimal doctrinal content, and without God. This is... (shrink)

In this paper I shall consider Hume's claim that it is in vain to ask “Whether there be body or not?’ I have often been puzzled by this interesting remark; puzzled as to just what he meant by it, why he said it, and whether he was right. I don't expect to do any more than explore some of the possibilities and suggest some tentative answers in this discussion. Hume seems to have argued that we can't take this question seriously (...) because we could never sincerely believe what we said if we denied that “body” exists; and that we can't have any genuine doubt on this head because “certain trivial qualities of the fancy” lead us inevitably into a “gross illusion”. We are thus stuck having to believe what we can prove to be false. Reason mocks us like a palsied hand, knocking away precisely what it tries hardest to grasp. This, I say, is what Hume seems to have argued. But let's see what else we can do with his words. I shall begin by giving a brief account of this belief in “body”. I shall then explore some senses in which the question of the existence of body might turn out to be vain. (shrink)

Diseases caused by Salmonella species are characterized by bacterial invasion of host cells. Salmonella invasion requires a genetic locus (inv) with homology to bacterial systems involved in specific protein export and organelle assembly. Until recently, the actual Salmonella invasion factors exported or assembled by the inv system remained unidentified. It now appears that Salmonella produces novel appendages upon contact with host cells. These appendages are transient, appearing and disappearing rapidly from the bacterial surface. Appendages are altered in strains unable to (...) invade due to mutations within the inv/spa locus. Therefore, a role for the invasion locus has been identified, providing another example of bacterial pathogens responding to signals provided by the host cell surface. (shrink)

Background Paramedicine is a newly regulated profession in Australia and with the introduction of regulation in 2018 for this profession came increased responsibilities – including the introduction of a professional code of conduct. Several countries now have regulation of paramedicine and associated professional codes to guide ethical and professional behaviour. Despite this, there has been no published research into paramedic understanding and use of their professional codes. Objectives To explore Australian paramedics’ use and understanding of their professional code of conduct. (...) Research design: This study used a qualitative descriptive design, underpinned by hermeneutic theory. Reflexive thematic analysis was used to analyse the interview data and identify Australian paramedic perceptions surrounding the use of their code of conduct. Results 11 Registered Paramedics from several states and territories were interviewed. Participants were invited to interview by advertisement on social media and the Australasian College of Paramedicine Web site. Participants had varied professional backgrounds including clinical work, education providers and policymakers/managers. Four themes were identified as follows: Theme 1 – ‘You don’t know, what you can’t know’; Theme 2 – ‘I don’t need the code – the code is for others’; Theme 3 – ‘It’s about time’; Theme 4 – ‘Navigating the new profession’. Ethical considerations: Ethics approval was granted by the Monash University Human Research Ethics Committee (MUHREC) Project ID: 28921. All participants provided informed consent. Conclusions The results of this study suggest that paramedics’ knowledge and use of their code is limited, and participants appeared to mostly rely instead on ‘common sense’ morals. Participants did appear to want to understand the broad concepts of the code more and have this better integrated into the profession. The code was also interpreted as important to the paramedic profession and its new professional status, helping to legitimise it as a health profession in Australia. (shrink)

Enfolding Silence is a rare gem for exploring the aesthetic dimensions of epistemology and meaning-making through the arts in the context of historic communal injury. Author Brett Esaki invites his audience to consider how Japanese Americans have developed various art forms to cope with, resist, and transform traumatic experiences of racism, including the mass, unlawful internment of nearly 120,000 people of Japanese descent during World War II. By examining an extended ethnographic case study, educators and students can reflect on (...) how a community teaches aesthetically across generations, as one generation traumatized by racism teaches what matters culturally, aesthetically, and spiritually to the next. Esaki is... (shrink)

The frame problem refers to the fact that organisms must be able to zero in on relevant aspects of the world and intelligently ignore the vast majority of the world that is irrelevant to their goals. In this paper we aim to point out the connection between two leading frameworks for thinking about how organisms achieve this. Predictive processing is a rapidly growing framework within cognitive science which suggests that organisms assign a high ‘weight’ to relevant aspects of the world, (...) effectively treating relevant aspects of the world as if they are more precise. This assignment of weight is called precision-weighting and is the predictive processing account of how organisms allocate their attention. Relevance Realization is a framework that conceptualizes an organism’s ability to realize relevance as resulting from a dynamical system in which a cognitive agent makes use of opponent processing relationships to zero in on relevant aspects of the world. In this paper we use recent work on the diametric model of autism and psychosis to demonstrate that the tradeoffs inherent to precision-weighting are also inherent to relevance realization. This connection will demonstrate that although these frameworks have a different intellectual background and use a different set of concepts and vocabulary, they are both pointing to the same underlying process. The fact that these different frameworks have converged on such a similar solution to the problem of how organisms realize relevance serves to demonstrate the plausibility of that solution. (shrink)

The notion of a genetic program has been widely criticized by both biologists and philosophers. But the debate has revolved around a narrow conception of what programs are and how they work, and many criticisms are linked to this same conception. To remedy this, I outline a modern and more apt idea of a program that possesses many of the features critics thought missing from programs. Moving away from over-simplistic conceptions of programs opens the way to a more fruitful interplay (...) of ideas between the complexity of biology and our most complex engineering discipline. (shrink)

This article proposes that Horace's Epodes and Ovid's Metamorphoses open with significant acrostics that comprise the first two letters, in some cases forming syllables, of successive lines: IB-AM/IAMB (Epod. 1.1–2) and IN-CO-(H)AS (Met. 1.1–3). Each acrostic, it will be argued, tees up programmatic concerns vital to the work it opens: generic identity and the interrelation of form and content (Epodes), etymology and monumentality (Metamorphoses). Moreover, as befits their placement at the head of collections, both acrostics negotiate the challenge of literary (...) commencement. The introduction reviews recent developments in acrostic studies and discusses important predecessors and parallels for Horace's and Ovid's ‘two-letter’ and syllabic acrostics. Two subsequent sections examine the acrostics singly, and a conclusion compares the dialogues that these acrostics open between author and reader, underscoring the welcome challenge which Ovid's acrostic offers to the prevailing scholarly view that this form of wordplay is a strictly visual affair. (shrink)

Drawing on recent advances in evolutionary biology, prominent scholars return to the question posed in a pathbreaking book: how evolution itself evolved.

The literature contains evidence from some studies of asymmetric patterns of choice cycles in the direction consistent with regret theory, and evidence from other studies of asymmetries in the opposite direction. This article reports an experiment showing that both patterns occur within the same sample of respondents operating in the same experimental environment. We discuss the implications for modelling behaviour in such environments.

Every day, new warnings emerge about artificial intelligence rebelling against us. All the while, a more immediate dilemma flies under the radar. Have forces been unleashed that are thrusting humanity down an ill-advised path, one that's increasingly making us behave like simple machines? In this wide-reaching, interdisciplinary book, Brett Frischmann and Evan Selinger examine what's happening to our lives as society embraces big data, predictive analytics, and smart environments. They explain how the goal of designing programmable worlds goes hand (...) in hand with engineering predictable and programmable people. Detailing new frameworks, provocative case studies, and mind-blowing thought experiments, Frischmann and Selinger reveal hidden connections between fitness trackers, electronic contracts, social media platforms, robotic companions, fake news, autonomous cars, and more. This powerful analysis should be read by anyone interested in understanding exactly how technology threatens the future of our society, and what we can do now to build something better. (shrink)

The field of emotion regulation has developed rapidly, and a number of emotion regulatory strategies have been identified. To date, empirical attention has focused on contrasting specific regulatio...

Jakob von Uexküll's theories of life -- Biography and historical background -- Nature's conformity with plan -- Umweltforschung -- Biosemiotics -- Concluding remarks -- Marking a path into the environments of animals -- The essential approach to the organism -- Heidegger and the biologists -- Paths to the world -- Disruptive behavior : Heidegger and the captivated animal -- The worldless stone -- The poor animal -- For example, three bees and a lark -- Animal morphology -- A shocking wealth (...) -- A fine line in the rupture of time -- An affected body -- The theme of the animal melody : Merleau-Ponty and the umwelt -- The structure of behavior -- A pure wake, a quiet force -- A leaf of being -- Interanimality -- The-animal-stalks-at-five-oclock : Deleuze's affection for Uexküll -- Problematic organisms -- Uexküll's ethology of affects -- The body without organs, the embryonic egg, and prebiotic soup -- Nature's refrain sung across milieus and territories -- The animal stalks. (shrink)

Emotion Review, Volume 14, Issue 3, Page 167-181, July 2022. A growing cadre of influential scholars has converged on a circumscribed definition of empathy as restricted only to feeling the same emotion that one perceives another is feeling. We argue that this restrictive isomorphic matching definition is deeply problematic because it deviates dramatically from traditional conceptualizations of empathy and unmoors the construct from generations of scientific research and clinical practice; insistence on an isomorphic form undercuts much of the functional value (...) of empathy from multiple perspectives of analysis; and combining the opposing concepts of isomorphic matching and self-other awareness implicitly requires motivational content, causing the RIM definition to implicitly require the kind of non-matching emotional content that it explicitly seeks to exclude. (shrink)

"In 2003 the Getty Museum, which holds a collection of about 240 Weston prints, hosted a colloquium on the photographer. This volume in the In Focus series records remarks by the author, Brett Abbott, along with those of six other participants: William Clift, Amy Conger, David Featherstone, Weston Naef, David Travis, and Jennifer Watts. Context for their conversation is provided by the author's introduction, plate texts, and chronology. Approximately fifty of Weston's images demonstrate why his work continues to resonate (...) with a contemporary public and serves as a model for a host of photographers active today."--BOOK JACKET. (shrink)

When epistemologists talk about knowledge, the discussions traditionally include only a small class of other epistemic notions: belief, justification, probability, truth. In this paper, we propose that epistemologists should include an additional epistemic notion into the mix, namely the notion of assuming or taking for granted.

"Accompanies the exhibition Engaged Observers: Documentary Photography since the Sixties, held at the J. Paul Getty Museum, Los Angeles, June 29-November 17, 2010.".

When government actors seek to restrict the sale of hazardous substances, industry actors tend to intervene, deploying coordinated strategies aimed at delaying, preventing or weakening attempts to regulate their products. In many cases, this has involved deliberate efforts to obfuscate science, mislead the public and manipulate political actors in order to ensure desired policy outcomes. Strategies of regulatory obstructionism have resulted in the prolonged dispersal of harmful chemical substances with tangible impacts on public health. This article proposes that this behavior (...) should be interpreted as a form of violence. Examining the regulatory histories of lead, benzene, asbestos and PCBs, the article demonstrates how regulatory obstructionism and violence have become intractable characteristics of the chemical industry. (shrink)

Dictionary-making is an increasingly important avenue for cultural preservation and maintenance for Aboriginal people. It is also one of the main jobs performed by linguists working in Aboriginal communities. However, current tools for making dicitionaries are either not specifically designed for the purpose (Word, Nisus), with the result that dictionaries written in them are difficult to maintain, to keep consistent, and to manipulate automatically, or are too complex for many people to use (Shoebox), and are thereby wasted as potential resources. (...) Moreover, neither of these sets of tools provides a suitable user interface for people who simply want to browse or find words in a dictionary. We set out to design a dictionary 'template', written in software that was easy (and fun!) for people to use, and that maintained a consistent relationship among the information in the dictionary. (shrink)

A funny, sharp and smart picture book to help mommy and daddy through difficult moments.

Which rules should guide our reasoning? Human reasoners often use reasoning shortcuts, called heuristics, which function well in some contexts but lack the universality of reasoning rules like deductive implication or inference to the best explanation. Does it follow that human reasoning is hopelessly irrational? I argue: no. Heuristic reasoning often represents human reasoners reaching a local rational maximum, reasoning more accurately than if they try to implement more “ideal” rules of reasoning. I argue this is a genuine rational achievement. (...) Our ideal rational advisors would advise us to reason with heuristic rules, not more complicated ideal rules. I argue we do not need a radical new account of epistemic norms to make sense of the success of heuristic reasoning. (shrink)

This paper describes a pattern of explanation prevalent in the biological sciences that I call a ‘lineage explanation’. The aim of these explanations is to make plausible certain trajectories of change through phenotypic space. They do this by laying out a series of stages, where each stage shows how some mechanism worked, and the differences between each adjacent stage demonstrates how one mechanism, through minor modifications, could be changed into another. These explanations are important, for though it is widely accepted (...) that there is an ‘incremental constraint’ on evolutionary change, in an important class of cases it is difficult to see how to satisfy this constraint. I show that lineage explanations answer important questions about evolutionary change, but do so by demonstrating differences between individuals rather than invoking population processes, such as natural selection.1. Introduction2. Turning a ‘Scale’ into a ‘Plume’3. Lineage Explanations in Biology3.1. The evolution of eyes3.2. The evolution of feathers4. The Two Dimensions of a Lineage Explanation4.1. The production dimension4.2. The continuity dimension4.3. The dual role of the parts5. Constraining the Explanations6. Operational and Generative Lineages7. Explaining Change Without Populations8. Conclusion. (shrink)

The nineteenth century compared her to Shakespeare; in our own time, she has been likened most often to Henry James. Both comparisons reflect a basic difficulty in reconciling subject matter with treatment, in squaring Jane Austen's restricted world - "3 or 4 Families in a Country Village" - with her profound impact upon our imaginations. Over the years her admirers have tried to resolve this paradox in various ways, none quite successful, but throughout all the changes in critical method one (...) thing has remained constant: the high level of admiration. As Edmund Wilson once remarked, in various revolutions of taste which have occurred during the last century and a half, "perhaps only two reputations have never been affected by the shifts of fashion: Shakespeare's and Jane Austen's. We still agree with Scott about Jane Austen, just as we agree with Ben Jonson about Shakespeare." Even in the half-century after Jane Austen's death, when her reputation was limited in comparison with those of the great Victorians, the praise of discriminating critics was remarkably consistent; and it seems safe to predict, as we begin to celebrate the two-hundredth anniversary of her birth, that this high estimate will remain unchallenged. The bicentennial year will produce the usual tributes, conferences, and collections of essays, but the call for "revaluation" which is usually a ritual part of such occasions will scarcely be heard. The question will not be one of placing Jane Austen in some hierarchy of value, but of trying once again to explain her accepted excellences. A. Walton Litz has written The Art of James Joyce, Jane Austen: A Study of Her Artistic Development, Introspective Voyager: The Poetic Development of Wallace Stevens, and numerous articles. He is professor of English at Princeton University. (shrink)

Why can I not appropriately utter ‘It must be raining’ while standing outside in the rain, even though every world consistent with my knowledge is one in which it is raining? The common response to this problem is to hold that epistemic must, in addition to quantifying over epistemic possibilities, carries some additional evidential information concerning the source of one'S evidence. I argue that this is a mistake: epistemic modals are mere quantifiers over epistemic possibilities. My central claim is that (...) the seeming anomaly of the data above arises from a mistaken conception of what a possibility is. Instead of conceiving of possibilities as possible worlds, I argue that we should conceive of possibilities as answers to open questions. (shrink)