Recensión de W. Thompson y A. Wheeler, La demanda de la mitad de la raza humana, las mujeres contra la pretensión de la otra mitad, los hombres, de mantenerlas en la esclavitud política y, en consecuencia, civil y doméstica, Editorial Comares, Granada, 2000.

L2 learners may access UG principles because these are realized in all natural languages. Since this is not the case for the parametrized aspects of language, parameter setting may be progressively replaced by restructuring mechanisms which are specifically related to the process of representational redescription because L2 learners are not sensitive to the [±] features which define parameters.

The current training model being used in higher education advocates the acquisition of competences aimed at providing students with all-round training that will enable them to tackle their future work responsibilities effectively. This encompasses a number of different competences, most notably the transversal kind, especially in view of the important role they play in shaping the profile of any professional individual. The active learning methods applied to group work have shown to be the most suitable for achieving these competences. From (...) this perspective, and considering their relevance, we present the results of a study that addresses the perceptions held by students from Education Degrees regarding the extent to which transversal competences are acquired by implementing active learning methods. The students perceive group work as a dynamic that teaches them how to be more self-critical and committed to group-oriented tasks, thus encouraging communication skills, personal relationships and motivation. However, a lesser degree of acquisition has been recorded in other equally important competences. As such, it is necessary to promote these learning methods from the start, carefully designing and planning the curriculum structure as well as the tasks to be performed in order to avoid any negative implications that may arise. (shrink)

Plagiarism is a serious, yet widespread type of research misconduct, and is often neglected in developing countries. Despite its far-reaching implications, plagiarism is poorly acknowledged and discussed in the academic setting, and insufficient evidence exists in Latin America and developing countries to inform the development of preventive strategies. In this context, we present a longitudinal case study of seven instances of plagiarism and cheating arising in four consecutive classes of an Epidemiology Masters program in Lima, Peru, and describes the implementation (...) and outcomes of a multifaceted, “zero-tolerance” policy aimed at introducing research integrity. Two cases involved cheating in graded assignments, and five cases correspond to plagiarism in the thesis protocol. Cases revealed poor awareness of high tolerance to plagiarism, poor academic performance, and widespread writing deficiencies, compensated with patchwriting and copy-pasting. Depending on the events’ severity, penalties included course failure and separation from the program. Students at fault did not engage in further plagiarism. Between 2011 and 2013, the Masters program sequentially introduced a preventive policy consisting of: intensified research integrity and scientific writing education, a stepwise, cumulative writing process; honor codes; active search for plagiarism in all academic products; and a “zero-tolerance” policy in response to documented cases. No cases were detected in 2014. In conclusion, plagiarism seems to be widespread in resource-limited settings and a greater response with educational and zero-tolerance components is needed to prevent it. (shrink)

After the global economic collapse triggered by the Great Recession, there has been an increased interest in the potential psychological implications of periods of economic decline. Recent evidence suggests that negative personal experiences linked to the economic crisis may lead to diminished generalized trust (i.e., the belief that most of the people of the society are honest and can be trusted). Adding to the growing literature on the psychological consequences of the economic crisis, we propose that the perceived personal impact (...) of the economic crisis not only would undermine generalized trust but also may lead to increased interpersonal trust (i.e., directed to specific and close people) and depersonalized in-group trust (i.e., directed to individuals who, while strangers, belong to the same group [e.g., social class]). Across three studies (N = 1379), we tested these central hypotheses and ascertained whether the perceived personal impact of the crisis would predict these types of trust (assessed using questionnaire and behavioral measures) independent of individuals’ socioeconomic status. Non-experimental data from Study 1 revealed that a higher perceived personal impact of the crisis is related to lower levels of generalized trust and higher levels of interpersonal trust. These effects were independent of participants’ socioeconomic status. Non-experimental data from Study 2 replicated the findings obtained in Study 1 and also showed a positive association between the perceived personal impact of the crisis and depersonalized in-group trust. This pattern of results emerged even after controlling for socioeconomic status, gender, age, political orientation, religiosity, and unemployment status. In Study 3, using an experimental design, we found that the salience of a possible economic downturn led to decreased generalized trust and increased interpersonal and depersonalized in-group trust—independently of socioeconomic status—compared with the control condition. These results challenge the conventional wisdom that economic crises invariably undermine trust in others. The implications of the present research as well as future research directions are discussed. (shrink)

The coronavirus disease pandemic fundamentally disrupted humans’ social life and behavior. Public health measures may have inadvertently impacted how people care for each other. This study investigated prosocial behavior, its association well-being, and predictors of prosocial behavior during the first COVID-19 pandemic lockdown and sought to understand whether region-specific differences exist. Participants from eight regions clustering multiple countries around the world responded to a cross-sectional online-survey investigating the psychological consequences of the first upsurge of lockdowns in spring 2020. Prosocial behavior (...) was reported to occur frequently. Multiple regression analyses showed that prosocial behavior was associated with better well-being consistently across regions. With regard to predictors of prosocial behavior, high levels of perceived social support were most strongly associated with prosocial behavior, followed by high levels of perceived stress, positive affect and psychological flexibility. Sociodemographic and psychosocial predictors of prosocial behavior were similar across regions. (shrink)

Recesión de Barrère Unzueta, Mª Ángeles, Discriminación, Derecho antidiscriminatorio y acción positiva en favor de las mujeres, Cuadernos Cívitas, Madrid, 1997, pp. 123.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Hypatia’s Daughters: Fifteen Hundred Years of Women Philosophers ed. by Linda Lopez McAllisterSue M. WeinbergLinda Lopez McAllister, editor. Hypatia’s Daughters: Fifteen Hundred Years of Women Philosophers. Bloomington and Indianapolis: Indiana University Press, 1996. Pp. xiv + 345. Cloth, $49.95. Paper, $22.50.Hypatia: born in the fourth century A.D.: philosopher, mathematician, astronomer, teacher; brutally murdered in Alexandria in 415 A.D—whether for holding religious views regarded as heretical or because she (...) was a woman who dared to be a scholar and teacher remains a matter of speculation. Today, she gives her name to the journal for feminist philosophy. She is a symbol for those women who, over the centuries, have struggled to be part of the philosophical life of their time.Until very recently, the centuries that separated Hypatia from the present were assumed to have been a philosophical desert for women. But times have changed. Hypatia’s Daughters is a sign of this change. It contains eighteen articles on seventeen philosophers: Hypatia; Hildegard of Bingen, Heloise, and Christine de Pisan from the Middle Ages; Elizabeth of Bohemia, Sor Juana de la Cruz, Anne Conway, Damaris Masham, Catharine Trotter, Belle van Zuylen and Mary Wollstonecraft from the seventeenth and eighteenth centuries; Anne Doyle Wheeler and Harriet Taylor Mill from the nineteenth; Charlotte Perkins Oilman, Edith Stein, Hannah Arendt, and Angela Davis from the late nineteenth century into contemporary times. Few are known as well as they deserve, but many names are familiar even to non-specialists. Their ideas, however, are another matter.The collection in no way constitutes a definitive selection of women philosophers; those discussed are not presented as the most significant women philosophers in the history of philosophy. (A different kind of study would be necessary for evaluations of that kind.) The women here studied have little in common as a group; they wrote on many topics of philosophical concern; their views and their supporting reasoning differ. Further, as the subjects of the articles differ in their ideas, so do the contributors’ approaches and their methods of studying those ideas differ. These differences are the strengths of a collection that is stimulating, enlightening, provocative. The following examples indicate their range.Andrea Nye examines the correspondence of Heloise and Abelard and, in a second article, of Elizabeth of Bohemia and Descartes. Heloise and Elizabeth are usually regarded as passive followers or, at best, no more than serious questioners seeking answers of their correspondents. Nye’s fresh look at the Heloise-Abelard correspondence finds not only important differences between two ways of thinking, but also sees already underlying their disagreement what she calls the “macroquestion” of philosophy’s future: philosophy as “a professional discipline independent of political or social concerns or... an ongoing critical and cultural discourse.” (25) Elizabeth’s persistent questions to Descartes reveal ideas that challenge his views, especially on moral issues and physiological-psychological [End Page 164] phenomena; these are views that have a greater complexity than the basic issue of mind-body interaction that is usually identified as central to their exchange.Writing on Harriet Taylor Mill, Jo Ellen Jacobs examines changing attitudes towards her subject, beginning with views of Taylor Mill’s contemporaries and moving through the decades into our time. She finds parallels between criticisms of Taylor Mill and attitudes towards the so-called intellectual woman. In times encouraging of women, Taylor Mill is regarded as having made important contributions to the development of J. S. Mill’s thinking, in addition to writing and speaking about her own ideas and positions that did not always follow those of J. S. Mill. In less encouraging times, her significance tends to be minimized.Hannah Arendt is not usually thought of as a feminist. Joanne Cutting-Gray, through her discussion of Arendt’s early book on Rahel Varnhagen, develops implications of that study for Arendt as a “feminist thinker,” in particular through her focus on “the politics of alterity.” Cutting-Gray finds in the Varnhagen biography “an analogy between Jewish and female alterity [that] can stretch our understanding of women and politics.” (281)And there is more, much more: Martha Brandt Bolton’s scholarly examination of the philosophical works... (shrink)

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

Early in his Essays on Intellectual Powers, Reid draws a distinction between mental power, mental operation, and mental capacity (EIP 21). To the untrained eye, these terms could probably be used interchangeably, and Reid believes this is correct, up to a point. He argues that, if we are interested in understanding exactly how the human mind works, we must use these terms with more precise meanings. This is part of his more general strategy of trying to always use the words (...) with their common meanings, as much as possible, but also pointing out that certain philosophical distinctions are needed to carry out the project of laying out the foundations of the science of the mind. This paper explains what the distinction between power, operation, and capacity is, according to Reid, with the goal of understanding why it is important to draw such a distinction, not only for the Reidian project, but for action theory, more generally. (shrink)

A remarkable feature of the philosophical work on conspiracy theory theory has been that most philosophers agree there is nothing inherently problematic about conspiracy theories (AKA the thesis of particularism). Recent work, however, has challenged this consensus view, arguing that there really is something epistemically wrong with conspiracy theorising (AKA generalism). Are particularism and generalism incompatible? By looking at just how much particularists and generalists might have to give away to make their theoretical viewpoints compatible, I will argue that particularists (...) can accept many of the concerns that motivate generalism because generalism can never be about ‘all’ conspiracy theories without being either ahistorical or apolitical. In the end generalist critiques are best seen as useful guidelines or considerations for the appraising of particular conspiracy theories. (shrink)

This paper examines the role of reason in Shepherd's account of acquiring knowledge of the external world via first principles. Reason is important, but does not have a foundational role. Certain principles enable us to draw the required inferences for acquiring knowledge of the external world. These principles are basic, foundational and, more importantly, self‐evident and thus justified in other ways than by demonstration. Justificatory demonstrations of these principles are neither required, nor possible. By drawing on textual and contextual evidence, (...) I will show that Shepherd should have said that we know the first principles of any science, in general, and that “everything which begins to exist must have a cause”, in particular, via intuition, not via reason. Reasoning about such principles can help their self‐evidence shine through in certain cases; their justification, and our being justified in believing them, does not come from this reasoning, however. (shrink)

In metaethics, evolutionary debunking arguments combine empirical and epistemological premises to purportedly show that our moral judgments are unjustified. One objection to these arguments has been to distinguish between those judgments that evolutionary influence might undermine versus those that it does not. This response is powerful but not well understood. In this paper I flesh out the response by drawing upon a familiar distinction in the natural sciences, where it is common to distinguish folk judgments from theoretical judgments. I argue (...) that this in turn illuminates the proper scope of the evolutionary debunking argument, but not in an obvious way: it is a very specific type of undermining argument that targets those theories where theoretical judgments are inferred merely from folk judgments. One upshot of this conclusion is that it reveals a verboten methodology in metaethics. The evolutionary debunking argument is therefore much less powerful than its proponents have supposed, but it nevertheless rules out what is perhaps a common way of attempting to justify moral judgments. (shrink)

Looking at the early work in the philosophy of conspiracy theory theory, I put in context the papers in this special issue on new work on conspiracy theory theory (itself the product of the 1st International Conference on the Philosophy of Conspiracy Theory held in February 2022), showing how this new generation of work not only grew out of, but is itself a novel extension of the first generation of philosophical interest in these things called ‘conspiracy theories’.

Jan Narveson has articulated a deeply held, widely shared intuition regarding what moral law has to say about bringing additional people into existence: while we are “in favour of making people happy,” we are “neutral about making happy people.” Various formulations of the Narvesonian intuition (closely related to the _person-affecting intuition_ or _restriction_) have been widely criticized. This present paper outlines an off-the-beaten-path alternate construction of the intuition—the _existence condition_—and argues that that particular construction has the resources to avoid some (...) of those criticisms. But still other considerably more widely recognized alternate constructions have been offered as well. Thus John Broome outlines what he calls the _neutrality intuition_. While Broome finds the underlying intuition “strongly attractive,” he nonetheless argues that the neutrality intuition itself leads us quickly into inconsistency. Wlodek Rabinowicz disagrees. On his view, Broome’s inconsistency argument shows, not that the neutrality intuition is false, but rather that it doesn’t follow, from the fact that the outcome, or possible future or _world_, that includes the additional person is neither better nor worse than the (otherwise similar) world that excludes that person, that the one world is exactly as good as the other. The better view, according to Rabinowicz, is that, on occasion, and specifically when the coming into existence of additional people is at stake, the one world is _incommensurate_ with the other. What is called the _principle of trichotomy_ is, in other words, false. Difficulties arise, however, when we try to reject that seemingly compelling conceptual principle. This present paper concludes with the argument that the availability of the existence condition—which, together with certain other uncontroversial moral principles and a handful of conceptual principles, forms the _existential approach_—shows that we can maintain the most intuitive parts of neutrality intuition while avoiding both Broome’s inconsistency worry and Rabinowicz’s commitment to incommensurability. Incommensurability may be correct on other grounds—but not, this present paper argues, on the grounds provided by Broome’s inconsistency argument. (shrink)

Considering whether existence, i.e., being, is a thing might seem like the height of aimless metaphysical chin stroking. However, the issue—specifically, whether existence is a quality—is significant, bearing on how reality, this all-encompassing totality, is. On one view, reality at large is ontologically fixed, the sum total of things does not (and cannot) vary; on another view, reality is ontologically transient, the sum total of things varies. I first show that if existence is a thing, that reality is ontologically fixed (...) follows. So I consider whether existence is indeed a thing. I demonstrate that “it” could not be: existence is no existent. I then discuss what it is to exist, given existence is nothing at all. I maintain there are no grounds for the view that reality is ontologically fixed. I argue, from the irrefragable basis of temporal differentiation—the world going from thus…to as so—that reality is ontologically transient. I consider some objections to ontological transience and conclude by considering the key to understanding the overall structure in reality and what it reveals about how very inconstant all this is. (shrink)

Human language has the characteristic of being open and in some cases polysemic. The word “infinite” is used often in common speech and more frequently in literary language, but rarely with its precise meaning. In this way the concepts can be used in a vague way but an argument can still be structured so that the central idea is understood and is shared with to the partners. At the same time no precise definition is given to the concepts used and (...) each partner makes his own reading of the text based on previous experience and cultural background. In a language dictionary the first meaning of “infinite” agrees with the etymology: what has no end. We apply the word infinite most often and incorrectly as a synonym for “very large” or something that we do not perceive its completion. In this context, the infinite mentioned in dictionaries refers to the idea or notion of the “immeasurably large” although this is open to what the individual’s means by “immeasurably great.” Based on this linguistic imprecision, the authors present a non Cantorian theory of the potential and actual infinite. For this we have introduced a new concept: the homogon that is the whole set that does not fall within the definition of sets established by Cantor. (shrink)

Each of the following papers gives an account of a different UK clinical ethics committee. The committees vary in the length of time they have been established, and also in the main focus of their work. The accounts discuss the development of the committees and some of the ethical problems that have been brought to them. The issues raised will be relevant for other National Health Service (NHS) trusts in the UK that wish to set up such a committee.

First published in 1995. Routledge is an imprint of Taylor & Francis, an informa company.

Recent work in philosophy of science has shown how the challenges posed by extremely complex systems require that scientists employ a range of modelling strategies, leading to partial perspectives that make apparently conflicting claims about the target (Mitchell 2009b, Longino 2013). The brain is of course extremely complex, and the same arguments apply here. In this paper I present a variety of perspectivism called _haptic realism_. This account foregrounds the process by which the instrumental goals of neuroscience shape the way (...) that objects of investigation are probed experimentally and conceptualised through modelling. Because such models do not aim to represent their targets exactly as they are, but in ways that are most useful for the investigators, the models should not be interpreted as literal descriptions of neural systems. Scientific realism traditionally involves a semantic commitment to interpreting theories and models as literal descriptions of human-independent nature. Haptic realism makes a significant departure from this tradition. Haptic realism also calls us to reassess the ontological commitments and knowledge claims of neuroscientific models and theories. (shrink)

Parental decision making is necessary for contracting medical interventions that require personal risk–benefit evaluation, and for overseeing matters of education. In the nineteenth century, exemptions from obligatory vaccination were granted for religious and conscientious reasons. Then and today, religion and moral values play marginal roles in vaccine hesitancy and denialism. Rather, the key values invoked by vaccine hesitants and denialists are liberty and pluralism. Neither is compatible with limiting adolescents’ choice. Because vaccination does not require assessment of personal medical risks, (...) because it does not need to occur within the sphere of the doctor–patient relationship, and because the risk involved is within the range of their daily activities, adolescents have the right to free access to vaccination without legal requirement of parental involvement. Drawing on the development of Common Law, and on the development of respect for personal conscience in the history of ideas, this paper does not promote an argument that grants public health an overriding moral power. Rather, this paper rejects the presumption that vaccination of adolescents might involve a conflict between parental authority and public health. Free access to vaccination is compatible with the law and ethics of adolescents’ evolving autonomy in relation to healthcare. (shrink)

Research on conspiracy theories has proliferated since 2016, in part due to the US election of President Trump, the COVID-19 pandemic, and increasingly threatening environmental conditions. In the rush to publication given these concerning social consequences, researchers have increasingly treated as definitive a 2016 paper by Michael Wood (Political Psychology, 37(5), 695–705, 2016) that concludes that the phrase “conspiracy theory” has no negative effect upon people’s willingness to endorse a claim. We revisit Wood’s findings and its (re)uptake in the recent (...) literature. Is the label “conspiracy theory” a pejorative? If so, does it sway or affect people’s belief in specific claims of conspiracy (i.e. particular conspiracy theories), or is the effect one that concerns claims of conspiracy more generally (i.e. all conspiracy theories)? Through an examination of the conceptual and methodological scope of Wood’s work and the results of our similar quasi-experimental design, we argue that it is premature to suggest the label “conspiracy theory” has no impact on the believability of a claim, or that it has no rhetorical power. (shrink)

This book provides a clear and nuanced appraisal of Hegel's treatment of Africa, India, and Islam, and of the implications of this treatment for postcolonial and global studies. Analyzing Hegel's master-slave dialectic and his views on Africa, India, and Islam, it situates these views not only within Hegel's historical scheme but also within a broader European philosophical context and the debates they have provoked within Hegel scholarship. Each chapter explores various in depth readings of Hegel by postcolonial critics, investigating both (...) the Eurocentric and potentially global nature of his dialectic. Ultimately, the book shows both where of this profoundly influential thinker archetypally embodies certain Eurocentric traits that have characterized modernity and how, ironically, he himself gives us the tools for working towards a more global vision. Offering a concise introduction not only to an important dimension of Hegel's thought - his orientation towards "empire" - but also to the various issues raised by postcolonial theory and global studies, this book will be of use to philosophers as well as advanced students of literary and cultural theory alike. (shrink)

Мета. У цій статті передбачено провести морфологічне дослідження життя Григорія Сковороди як самоконструювання філософа порівняно з життям таких філософів, як Іммануїл Кант, Фрідріх Ніцше, Мартін Гайдеґґер і Генрі Торо. Теоретичний базис. В основі дослідження лежить застосування монадологічного підходу до історії у сполученні з біографічним методом. Ідеї класичних філософських систем Ґотфріда Ляйбніца та Освальда Шпенглера застосовано з урахуванням їхнього переосмислення українськими філософами Іваном Бойченком та Вадимом Менжуліним. Завдяки цьому життя українського філософа Григорія Сковороди розглянуто як монаду, яка невпинно здійснює власне смислове (...) саморозгортання. Наукова новизна. Наскрізну парадоксальність філософії Григорія Сковороди, яку приписують йому, виходячи з інших філософських систем, повністю знімає перформативна послідовність його життя як філософа, що показують системні порівняння основних характеристик його життя з життям інших видатних філософів, які підпорядкували свої дії своїй філософській концепції. Висновки. Філософія Григорія Сковороди є монадою, тобто таким першофеноменом, який неможливо пояснити з інших феноменів: порівняння з іншими монадами є лише приводом для виявлення власних характеристик досліджуваної монади, які поступово розкриваються як прояв її самобутності й неповторності. Оригінальність філософської концептуалізації життя Сковороди варто здійснювати в поетапному порівнянні зі свідомим життям інших філософів, і таке порівняння потребує продовження, постійного здійснення. Особливістю цього дослідження є спроба надати методологічне обґрунтування такому компаративному морфологічно-біографічному філософському дослідженню. (shrink)