In “Why We Need Friendly AI”, Luke Muehlhauser and Nick Bostrom propose that for our species to survive the impending rise of superintelligent AIs, we need to ensure that they would be human-friendly. This discussion note offers a more natural but bleaker outlook: that in the end, if these AIs do arise, they won’t be that friendly.

This article is a general introduction to the psychology of reasoning. Specifically, it focuses on the dual process theory of human cognition. Proponents of the said two-system view hold that human cognition involves two processes (viz., System 1 and System 2). System 1 is an automatic, intuitive thinking process where judgments and reasoning rely on fast thinking and ready-to-hand data. On the other hand, System 2 is a slow, logical cognitive process where our judgments and reasoning rely on reflective, careful (...) analysis and data evaluation. Supposedly, these two cognitive processes are at play in every thinking task, and they sometimes work together and sometimes go against each other. (shrink)

Joaquín M. Fuster is an eminent cognitive neuroscientist whose research over the last five decades has made fundamental contributions to our understanding of the neural structures underlying cognition and behaviour. This book provides his view on the eternal question of whether we have free will. Based on his seminal work on the functions of the prefrontal cortex in decision-making, planning, creativity, working memory, and language, Professor Fuster argues that the liberty or freedom to choose between alternatives is a function of (...) the cerebral cortex, under prefrontal control, in its reciprocal interaction with the environment. Freedom is therefore inseparable from that circular relationship. The Neuroscience of Freedom and Creativity is a fascinating inquiry into the cerebral foundation of our ability to choose between alternative actions and to freely lead creative plans to their goal. (shrink)

This article surveys different philosophical theories about the nature of truth. We give much importance to truth; some demand to know it, some fear it, and others would even die for it. But what exactly is truth? What is its nature? Does it even have a nature in the first place? When do we say that some truth-bearers are true? Philosophers offer varying answers to these questions. In this article, some of these answers are explored and some of the problems (...) raised against them are presented. (shrink)

La Mentira juega un papel primordial en nuestra existencia individual y social. Así como otras especies pueden poseer rudimentarias forma de comunicación a través de lenguajes simples, la mentira es estrictamente humana ya que supone un avance evolutivo respecto a la mera existencia del lenguaje. La mentira es un arma evolutiva ofensiva y defensiva. La crisis que ha supuesto el denominado “giro ling ü ístico” ha hecho que el problema de la mentira haya salido del ámbito moral para estudiarse desde (...) distintas y múltiples perspectivas. La idea que se expone en el texto es que el interés actual por la mentira se basa fundamentalmente en el problema que se ha planteado con la crisis de la Verdad, es decir, la crisis de nuestra capacidad de afirmación, representación, conocimiento, etc. Si hemos renunciado a la verdad, tendremos que comenzar a relacionarnos con la Mentira: sus funciones, sus efectos, sus consecuencias. Se analiza el sentido de la mentira en el plano psicológico, social y ling ü ístico. El problema se ha desplazado hacia perspectivas más pragmáticas: la Mentira tiene sentido frente a los otros. (shrink)

In elementary logic textbooks, Venn diagrams are used to analyze and evaluate the validity of syllogistic arguments. Although the method of Venn diagrams is shown to be a powerful analytical tool in these textbooks, it still has limitations. On the one hand, such method fails to represent singular statements of the form, “a is F.” On other hand, it also fails to represent identity statements of the form, “a is b.” Because of this, it also fails to give an account (...) of the validity of some obviously valid arguments that contain these types of statements as constituents. In this paper, owing to the developments in the literature on Venn diagrams, we offer a way of supplementing the rules of the Venn diagram found in textbooks, and show how this retooled Venn diagram technique could account for the problem cases. (shrink)

Single-unit data from the cortex of monkeys performing working-memory tasks support the main point of the target article. Those data, however, also indicate that the activation of long-term memory is essential to the processing of all cognitive functions. The activation of cortical long-term memory networks is a key neural mechanism in attention (working memory is a form thereof), perception, memory acquisition and retrieval, intelligence, and language.

This commentary questions the target articles inferences from a limited set of empirical data to support this model and conceptual scheme. Especially questionable is the attribution of internal representation properties to an assembly of cells in a discrete cortical module firing at a discrete attractor frequency. Alternative inferences are drawn from cortical cooling and cell-firing data that point to the internal representation as a broad and specific cortical network defined by cortico-cortical connectivity. Active memory, it is proposed, consists in the (...) sustained activation of the component neuron populations of the network. (shrink)

Ballard et al.'s is a plausible and useful model. Leaving aside some unnecessary constraints, the model would probably be valid through a wider gamut of interactions between the self and the environment than the authors envision.

The processes mediating dynamic and flexible responding to rapidly changing task-environments are not well understood. In the present research we employ a Stroop procedure to clarify the contribution of context-sensitive control processes to online performance. In prior work Stroop interference varied as a function of probe location context, with larger Stroop interference occurring for contexts associated with a high proportion of congruent items [Crump, M. J., Gong, Z., & Milliken, B. . The context-specific proportion congruent stroop effect: location as a (...) contextual cue. Psychonomic Bulletin & Review, 13, 316–321.] Here, we demonstrate that this effect does not depend on awareness of the context manipulation, but that it can depend on attention to the predictive context dimension, and on the relative salience of the target and predictive context dimensions. We discuss the implications of our results for current theories of cognitive control. (shrink)

To offer engaging neurorehabilitation training to neurologic patients, motor tasks are often visualized in virtual reality. Recently introduced head-mounted displays allow to realistically mimic the body of the user from a first-person perspective in a highly immersive VR environment. In this immersive environment, users may embody avatars with different body characteristics. Importantly, body characteristics impact how people perform actions. Therefore, alternating body perceptions using immersive VR may be a powerful tool to promote motor activity in neurologic patients. However, the ability (...) of the brain to adapt motor commands based on a perceived modified reality has not yet been fully explored. To fill this gap, we “tricked the brain” using immersive VR and investigated if multisensory feedback modulating the physical properties of an embodied avatar influences motor brain networks and control. Ten healthy participants were immersed in a virtual environment using an HMD, where they saw an avatar from first-person perspective. We slowly transformed the surface of the avatar from human to stone. We enforced this visual change by repetitively touching the real arm of the participant and the arm of the avatar with a hammer, while progressively replacing the sound of the hammer against skin with stone hitting sound via loudspeaker. We applied single-pulse transcranial magnetic simulation to evaluate changes in motor cortical excitability associated with the illusion. Further, to investigate if the “stone illusion” affected motor control, participants performed a reaching task with the human and stone avatar. Questionnaires assessed the subjectively reported strength of embodiment and illusion. Our results show that participants experienced the “stone arm illusion.” Particularly, they rated their arm as heavier, colder, stiffer, and more insensitive when immersed with the stone than human avatar, without the illusion affecting their experienced feeling of body ownership. Further, the reported illusion strength was associated with enhanced motor cortical excitability and faster movement initiations, indicating that participants may have physically mirrored and compensated for the embodied body characteristics of the stone avatar. Together, immersive VR has the potential to influence motor brain networks by subtly modifying the perception of reality, opening new perspectives for the motor recovery of patients. (shrink)

We deal with situations incongruent with our automatic response tendencies much better right after having done so on a previous trial than after having reacted to a congruent trial. The nature of the mechanisms responsible for these sequential congruency effects is currently a hot topic of debate. According to the conflict monitoring model these effects depend on the adjustment of control triggered by the detection of conflict on the preceding situation. We tested whether these conflict monitoring processes can operate implicitly (...) in an implicit learning procedure, modulating the expression of knowledge of which participants are not aware. We reanalyze recently published data, and present an experiment with a probabilistic sequence learning procedure, both showing consistent effects of implicit sequence learning. Despite being implicit, the expression of learning was reduced or completely eliminated right after trials incongruent with the learned sequence, thus showing that sequential congruency effects can be obtained even when the source of congruency itself remains implicit. (shrink)

Reseña del libro Cristià, M. (2021): AIDA. Una historia de solidaridad artística transnacional (1979-1985). Buenos Aires: Imago Mundi.

Aún a falta de la imprescindible perspectiva temporal, se presentan aquí (1) una tesis sobre el movimiento 15M en su fase inicial de las acampadas: su discurso político en su fase de emergencia es un republicanismo cívico democrático de marca blanca sin referencias teóricas o filosóficas; y (2) varias hipótesis: se trata de un fenómeno político en sentido fuerte, producto del civismo bienestarista, sin conexión con movimientos sociales alternativos y sus ideologías, con una concepción novedosa de sí mismo como sujeto, (...) y que desafía el papel de los cuerpos intermedios en el ámbito de la sociedad civil, desde partidos hasta movimientos sociales. (shrink)

Recommending the identity of bidders in public procurement auctions has a significant impact in many areas of public procurement, but it has not yet been studied in depth. A bidders recommender would be a very beneficial tool because a supplier can search appropriate tenders and, vice versa, a public procurement agency can discover automatically unknown companies which are suitable for its tender. This paper develops a pioneering algorithm to recommend potential bidders using a machine learning method, particularly a random forest (...) classifier. The bidders recommender is described theoretically, so it can be implemented or adapted to any particular situation. It has been successfully validated with a case study: an actual Spanish tender dataset which has 102,087 tenders from 2014 to 2020 and a company dataset which has 1,353,213 Spanish companies. Quantitative, graphical, and statistical descriptions of both datasets are presented. The results of the case study were satisfactory: the winning bidding company is within the recommended companies group, from 24% to 38% of the tenders, according to different test conditions and scenarios. (shrink)

The paper presents a dialogical approach applied to the analysis of argumentative strategies in philosophy and examines the case of the critical comments to the Tanner Lectures given by the Dutch biologist and primatologist, Frans de Waal, at Princeton University in November 2003. The paper is divided into five parts: the first advances the hypothesis that what seem puzzling aspects of philosophical argumentation to scholars in other academic fields are explained by the global role played by a series of arguments (...) within a broader argumentative strategy, e.g. arguing that a question that seems important is not really worthwhile; the second presents five groups of dialectical operations, making use of concepts and tools from the dialectical dialogical approach (WaltonWalton and Krabbe, Commitment in Dialogue: Basic Concepts of Interpersonal Reasoning, SUNY Press, Albany, 1995), Hubert Marraud's Argument dialectic (Marraud, En buena lógica. Una introducción a la teoría de la argumentación, Editorial Universidad de Guadalajara, Guadalajara, 2020) and from the vast tradition of formal dialectics and dialogical logic. In the remaining three sections, the comments of philosophers Christine M. Korsgaard, Philip Kitcher and Peter Singer to de Waal's Tanner Lectures are analyzed dialectically. (shrink)

La España ayer nacionalcatólica vive hoy el «después de» los atentados terroristas del 11-M. Esta forma atroz que tuvieron los integristas islámicos de hacer irrumpir el sacro en la esfera pública y el mismo giro laicista del nuevo Ejecutivo, ponen de manifiesto de modo bien distinto las enormes dimensiones del debate de fondo religioso suscitado en nuestra sociedad. En España, el sacro ha saltado nuevamente a la esfera pública poniendo en tela de juicio las consolidadas relaciones entre política y religión (...) desarrolladas en la Constitución de 1978 y a partir de la firma del Concordato de 1979 entre la Santa Sede y el nuevo Estado democrático. Además, estas circunstancias se suman a dos hechos sólo aparentemente paradójicos: la creciente pluralidad religiosa y los procesos de secularización de la sociedad española. Por este motivo, estamos en condiciones de afirmar que, por debajo de las diversas medidas concretas de los programas políticos, en nuestro país se está desarrollando con una particular virulencia un gran debate de fondo religioso. Por eso consideramos que la “nueva” teología política de J.B. Metz sigue siendo un instrumento válido desde el que salir cristianamente a la palestra del pensamiento y del quehacer público. De este modo, el objetivo del presente estudio no es otro que considerar nuestro país en el interior del discurso teológico como un verdadero locus theologicus. (shrink)

Reseña de FRASER, Nancy: Dilemas de la justicia en el siglo XXI. Género y globalización , Mª Antonia Carbonero Gamundí y Joaquín Valdivielso (eds.), Edicions UIB, 2011.

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)

Traducción anotada de la más conocida de las obras de Avempace. En ella, el filósofo zaragozano plantea un estado ideal y utópico en el que todo debería estar regido por la verdad, la virtud y el amor entre los hombres. «El régimen del solitario» debe ser la imagen del régimen político del Estado perfecto, del Estado modelo. En esta obra aparece por primera vez como modelo el sabio solitario, al que invita a consagrarse a la sabiduría, a la virtud y (...) a la pura contemplación de la verdad, y que será el precedente de los robinsones europeos que surjan más tarde. La obra, muy difundida y citada en la Edad Media y el Renacimiento, resultaba en la actualidad poco accesible. Esta edición recoge la primera traducción, completamente actualizada, a la lengua europea. En ella se han tenido en cuenta las variantes de los manuscritos y las últimas investigaciones de los arabistas en torno al texto. La traducción se acompaña de notas y bibliografía exhaustiva y está precedida por una introducción amplia y detallada sobre la vida y el pensamiento científico y filosófico de Avempace. «El régimen del solitario» representa una de las obras clásicas de nuestra literatura. (shrink)