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)

Original essays by leading philosophers of science explore the question of whether metaphysics can and should be naturalized--conducted as part of natural science.

The study of social norms sprawls across all of the social sciences but the the concept lacks a unified conception and formal theory. We synthesize an account that can be applied generally, at the social scale of analysis, and can be applied to empirical evidence generated in field and lab experiments. More specifically, we provide new analysis on representing norms for application in empirical political science, and in parts of economics that do not follow the recent trend among some behavioral (...) economists to build models of the cognitive and motivational states of individuals taken “one at a time”. Foundational sources for our project are Bicchieri (2006, 2017), Kuran (1995), and Stirling (2012, 2016). From Bicchieri take that a norm exists in a social structure when a significant networked subset of individuals share descriptive and injunctive expectations that it regulates their interactions. From Kuran we take the insight that prevailing norms may come to be widely disliked by participants in networks but survive because norm suppress public displays of disenchantment. From Stirling we apply conditional game theory (CGT) to provide the technical resources for building our model of a norm-regulated social interaction. The example we use is a multi-player Investment/Trust Game. (shrink)

The phosphorelay of Bacillus subtilis, a kinase cascade that activates master regulator Spo0A ∼ P in response to starvation signals, is the core of a large network controlling the cell's decision to differentiate into sporulation and other phenotypes. This article reviews recent advances in understanding the origins and purposes of the complex dynamical behavior of the phosphorelay, which pulses with peaks of activity coordinated with the cell cycle. The transient imbalance in the expression of two critical genes caused by their (...) strategic placement at opposing ends of the chromosome proved to be the key for this pulsed behavior. Feedback control loops in the phosphorelay use these pulses to implement a timer mechanism, which creates several windows of opportunity for phenotypic transitions over multiple generations. This strategy allows the cell to coordinate multiple differentiation programs in a decision process that fosters phenotypic diversity and adapts to current conditions. (shrink)

This book offers the first comprehensive collection of essays on the key concepts of Kitaro Nishida (1870-1945), the father of modern Japanese philosophy and founder of the Kyoto School. The essays analyze several of the major philosophical concepts in Nishida, including pure experience, absolute will, place, and acting intuition. They examine the meaning and positioning of Nishida’s philosophy in the history of philosophy, as well as in the contemporary world, and discuss the relevance of his philosophy in the present context. (...) The book next looks at the significance of Nishida’s philosophy in the wider contexts of science, arts, and religion. The book includes a glossary of key terms that have been translated in a unified manner throughout the volume. (shrink)

In many ways, Benedict (Baruch) de Spinoza appears to be a contradictory figure in the history of philosophy. From the beginning, he has been notorious as an "atheist" who seeks to substitute Nature for a personal deity; yet he was also, in Novalis's famous description, "the God-intoxicated man." He was an uncompromising necessitarian and causal determinist; yet his ethical ideal was to become a "free man." He maintained that the human mind and the human body are identical; yet he also (...) insisted that the human mind can achieve a kind of eternality that transcends the death of the body. He has been adopted by Marxists as a precursor of historical materialism, and by Hegelians as a precursor of absolute idealism. He was a psychological egoist, proclaiming that all individuals necessarily seek their own advantage and implying that other individuals were of value to him only insofar as they were useful to him; yet his writings aimed to promote human community based on love and friendship, he had many devoted friends, and even his critics were obliged to acknowledge that his personal conduct was above reproach. He held that the state has the right to do whatever it has the power to do, while at the same time he defended democracy and freedom of speech. He denied supernatural revelation and criticized popular religion as a grave danger to the peace and stability of the state; yet he devoted himself to the careful interpretation of scripture and argued for toleration and freedom of religion. Rarely employing figures of speech or rhetorical flourishes of any kind, his works are nevertheless among the most magisterial and uplifting of all philosophical writings, and they have inspired more poets and novelists than those of any other philosopher of the early modern period. (shrink)

Whenever the name Edmund Husserl appears in the context of nursing research, what correctly comes to mind is the phenomenological approach to qualitative methodology. Husserl is not only considered the founder of phenomenology, but his broad concept development also contributed to the demise of positivism and inspired fruitful approaches to the social sciences. In this spirit of inspiration, it must be expressed that Husserl's theory of wholes and parts, and particularly his differentiation of parts into ‘pieces’ and ‘moments’, is very (...) helpful in guiding the selection of research methods across the board in nursing science. The purpose of this paper is to highlight a frame of reference for nursing researchers to use in examining the essential nature of that which is being studied. This frame of reference is the Husserlian philosophy of ‘pieces’ and ‘moments’ in relation to the whole. ‘Pieces’ are independent parts of the whole that are subject to isolability in study, whereas ‘moments’ are nonindependent parts, which cannot be detached, presented, or studied apart from the whole. The intent is to propose this frame of reference as a philosophical base from which nursing researchers may better select among paradigms and methodological approaches in regard to the essential nature (‘pieces’ or ‘moments’) of that which they are researching. (shrink)

The purpose of this article is to advance a new understanding of gender as a routine accomplishment embedded in everyday interaction. To do so entails a critical assessment of existing perspectives on sex and gender and the introduction of important distinctions among sex, sex category, and gender. We argue that recognition of the analytical independence of these concepts is essential for understanding the interactional work involved in being a gendered person in society. The thrust of our remarks is toward theoretical (...) reconceptualization, but we consider fruitful directions for empirical research that are indicated by our formulation. (shrink)

Paul Churchland does not open his latest book,The Engine of Reason, the Seat of the Soul, modestly. He begins by announcing, “This book is about you. And me … More broadly still, it is about every creature that ever swam, or walked, or flew over the face of the Earth” (p. 3). A few sentences later, he says, “Fortunately, recent research into neural networks … has produced the beginnings of a real understanding of how the biological brain works—a real understanding, (...) that is, of howyouwork, and everyone else like you” (p. 3). The implicit identification here of “me and you and everyone” with “the biological brain” might lead an uncharitable reader to view Churchland's book as “Eliminativism for the non-specialist,” that is, as an attempt to popularize the view of the mindbody problem with which, among his professional peers, Churchland has long been identified. However, I think that such a readingwouldbe uncharitable. He is, of course, frequently sceptical about the utility of folk psychology, but in this book he is much less concerned to disparage folk psychology as a failedtheory(by contrast with, for example, the arguments in Churchland 1979) than to urge the more modest view that the more we understand the brain, the better we shall be at helping those whose brains are damaged in ways that interfere seriously with the fulfilment of their lives. Hence, I am inclined to take him at his word when he says in the Preface that “The book is motivated first of all by sheer excitement over the new picture that is now emerging … [and] … also by the idea that this is information that the public needs to know” (p. xi). What excites Churchland so, at least overtly, is not the negative thesis he has defended elsewhere that folk-psychological terms fail to refer; his enthusiasm is mainly reserved for the positive thesis that minds are, essentially, interacting assemblies of recurrent neural networks. It is therefore this positive thesis, and Churchland's defence of it, that I will assess in the following discussion. (shrink)

Expanded new edition of the landmark book demonstrating the practice of phenomenology through visual illusions and ambiguous drawings.

Not so long ago, being reasonably trustworthy was good enough. But soon only the extremely trustworthy will thrive. In the age of smartphones and social networks, every action an organization takes can be exposed and critiqued in real time. Nothing is local or secret anymore. If you treat one customer unfairly, produce one shoddy product, or try to gouge one price, the whole world may find out in hours, if not minutes. The users of Twitter, Yelp, and similar outlets show (...) little mercy for bad behavior. The bar for trustworthiness is higher than ever and continues to rise. Bestselling authors Don Peppers and Martha Rogers, Ph.D., argue that the only sane response to these rising levels of transparency is to protect the interests of customers proactively—even if that requires spending extra money in the short run to preserve your brand reputation in the long run. The payoff of generating extreme trust will be worth it. With a wealth of fascinating research as well as practical applications, this book will show you how to earn—and keep—the extreme trust of everyone your company interacts with. (shrink)

Stakeholder theory is widely recognized as a management theory, yet very little research has considered its implications for individual managerial decision-making. In the two studies reported here, we used stakeholder theory to examine managerial decisions about balancing stakeholder interests. Results of Study 1 suggest that indivisible resources and unequal levels of stakeholder saliency constrain managers’ efforts to balance stakeholder interests. Resource divisibility also influenced whether managers used a within-decision or an across-decision approach to balance stakeholder interests. In Study 2 we (...) examined instrumental and normative implications of these two approaches. We conclude by considering the contributions of this research. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.4 (2003) 567-568 [Access article in PDF] Georgios Varouxakis. Mill on Nationality. New York: Routledge, 2002. Pp. ix + 169. Cloth $80.00. Georgios Varouxakis is a leader in the new generation of Mill scholars, and his work is exciting and provocative. Well-versed in recent debates over nationalism, colonialism, orientalism, and racism, he aims to address rather than avoid questions about Mill's supposed imperialistic (...) and racist leanings.Although slim and rather costly, Mill on Nationality marks an important statement of Varouxakis's extensive research on Mill. It "offers a study of Mill's attitudes and pronouncements on nationality, patriotism, national character, national self-determination, and related issues, based on a great range of writings, from his major works through his innumerable journalistic articles to his voluminous correspondence. Writings that prove particularly useful and illuminating are those related to France and his constant Franco-British or Franco-English comparisons, as well as his writings on Ireland and the Irish question, the Celtic peoples more generally, India, and, last but far from least, his pronouncements on Englishness, the "English national character," and his recipes and subtle strategies aimed at its education and "improvement" (5).The book delivers. If the prose at times suggests a lightly reworked dissertation, Varouxakis does nonetheless cheerfully maul scores of commentators on Mill whose works betray a less-than-intimate familiarity with the Mill corpus—e.g., everyone from Will Kymlicka to Bhiku Parekh. Varouxakis's criticisms reflect his methodology; he aims to trounce "misinterpretation due to lack of adequate contextualization and to insufficient conversance with Mill's overall thought" (8). But as with so many champions of this approach, he plainly adores the subject of his hermeneutical efforts, who emerges as a very bright light amid the dimness of later commentary on him. Referring to a passage from Mill's Inaugural Address to the University of St. Andrews, he writes that this "is impressive indeed: the thinker who is associated (wrongly) with so-called elitism, asserts that as complex an area of policy as foreign and international policy should be under the close scrutiny of the citizens and that it is a gross dereliction of duty if citizens fail to scrutinize their country's foreign policy and international comportment using as an excuse that international law is too complicated to understand. This is a very demanding conception of citizenship and a very lofty and high-minded perception of what constitutes a good citizen and a good patriot" (125-6). That it remains a relevant one is clear—indeed, "Mill's conception of the relationship between obligations to country and obligations to mankind was close to that of [Martha] Nussbaum" (118). For both, patriotism is commendable only when it conduces "to the interests of the whole of humanity" (116).As for racism, one of the most explosive issues in Mill studies, Varouxakis helpfully urges that discussions "about national and... cultural characteristics were, in Victorian Britain, inextricably associated with discussions about 'race,' and the term, 'race,' was often substituted for nation, nationhood, or national character" (39). Mill often used the term "race" in a loose way, discussing national characteristics "without reference as to whether they were biologically inherited or simply cultural traits occurring in these groups" (41). Moreover, "while accepting vaguely that racial origin is one of the factors influencing the formation of national character, Mill went further to establish that racial predisposition in itself could prove nothing and was liable to be modified out of any recognition through the agency of circumstances such as institutions, historical accidents and human effort" (43). In fact, for all his criticisms of the historical naiveté of the Enlightenment, Mill, in such mature works as The Subjection of Women, offered "not only a theoretical rejection of biological determinism, but also... an unequivocal belief in the malleability of human nature and therefore in the improvability of the character of various nations" (47).To be sure, disturbing questions remain. Although Mill "made strenuous efforts during the last three decades of his life to depreciate the importance of physical factors in the formation... (shrink)