This paper defends an account of moral shock as an emotional response to intensely bewildering events that are also of moral significance. This theory stands in contrast to the common view that shock is a form of intense surprise. On the standard model of surprise, surprise is an emotional response to events that violated one's expectations. But I show that we can be morally shocked by events that confirm our expectations. What makes an event shocking is not that (...) it violated one's expectations, but that the content of the event is intensely bewildering. What causes moral shock is, I argue, our lack of emotional preparedness for the event. And I show that, despite the relative lack of attention to shock in the philosophical literature, the emotion is significant to moral, social, and political life. (shrink)

The heat shock genes (hsp genes) are a family of truly ubiquitous genes which have been highly conserved throughout evolution. The protein products of these genes, the heat shock proteins (hsps) are thought to play a protective role in cells (although this may not be their only function). The genes and their products have been the subjects of intense research both at the cellular and molecular levels over the past few years. This review deals with the conservation of (...) the heat shock response and with the expression of the hsp genes under different conditions: they are usually activated as a group by different forms of stress, but can be expressed individually or in subsets at different stages during normal development and the expression of one of them is evoked by the products of different transforming genes. Experimental approaches which have provided information or which have led to hypotheses regarding the molecular details of the mechanisms regulating the expression of the genes are discussed. (shrink)

Ever since it was first unleashed in 1818 the story of Victor Frankenstein and his reanimated, stitched-together corpse has inspired intense debate. Can organic life be reanimated using electricity or genetic manipulation? If so, could Frankenstein’s monster really teach itself to read and speak as Mary Shelley imagined? Do monsters have rights, or responsibilities to those who would as soon kill them? What is it about music that so affects Frankenstein’s monster, or any of us? What does Mel Brook’s Frau (...) Blucher say to contemporary eco-feminism? Why are some Frankenstein’s flops and others historic successes? Is there a true Frankenstein? Why are children, but not adults, drawn to Shelley’s monster? And what is a “monster,” anyway? Frankenstein and Philosophy calls 25 philosophers to stitch together these and other questions as they apply to history’s greatest horror franchise. Some chapters treat the Frankenstein films, others the original novel, and yet others the many comic books, novels, and modern adaptations. Together they pay tribute to perhaps the most enduring pop culture icon and the fundamental fears, hopes, and puzzles it raises. (shrink)

A recent widely reported study found that some participants would prefer to self-administer a small electric shock than be bored. This flawed study serves as a departure point to diagram pain and sensation beyond the boundaries of the individual body, consisting of four sections. First, in terms of laboratory-based experimentation and auto-experimentation with pain, there is a long history of viewing pain and touch through introspective means. Second, later theories of pain successively widened the scope of the physiological mechanisms (...) and external influences on the organism, such as Melzack and Wall’s cybernetics-influenced gate control theory. Third, we briefly consider the nervous system as a homeostatic system, which finds an historical parallel in explanations of the milieu intérieur of the organism, via Claude Bernard and Kurt Goldstein. Fourth, pain helps tip the organism as a whole from perception to action, but also operates beyond the organism as a biopsychosocial phenomenon. (shrink)

The belief that White people are targeted victims of dispossession, displacement, and genocide has spread with shocking intensity since Donald Trump’s 2016 electoral college victory. Although this Great Replacement myth may seem absurd and irrational, its destructive real-world consequences force the question: what explains its efficacy and appeal? Drawing on White nationalists Greg Johnson and Tucker Carlson, I argue that the Great Replacement myth functions as an explanation for the real socioeconomic decline that has culminated in deaths of despair. (...) I then explore this decline’s sociohistorical context to argue that deaths of despair are consequences of political-economic domination reinforced by White supremacy. Put otherwise, these deaths result from socioeconomic violence that White people have inflicted on each other. I conclude that the real problem “the White race” faces today is not a Great Replacement but a Slow White Suicide. (shrink)

The intensity of the opposition to health reform in the United States continues to shock and perplex proponents of the Patient Protection and Affordable Care Act. The emotion and the apocalyptic rhetoric, render civil and evidence-based debate over the implications and alternatives to specific provisions in the law difficult if not problematic. The public debate has largely barreled down two non-parallel yet non-intersecting paths: opponents focus on their fear of government expansion in the future if PPACA is implemented (...) now, while proponents focus on the urgency and specifics of our health care market problems and the limited number of tools we have to address them. Frustration on both sides has led opponents to deny the seriousness of our health system’s problems and proponents to ignore the risk of governmental overreach. These non-intersecting lines of argument are not moving us closer to a desired and necessary resolution. (shrink)

The greatest intensity of “live” life is captured from as close as possible in order to be borne as far as possible away. Jacques Derrida. Echographies of Television . Rainer Ganahl has made a study of studying. As part of his extensive autobiographical art practice, he documents and presents many of the ambitious educational activities he undertakes. For example, he has been videotaping hundreds of hours of solitary study that show him struggling to learn Chinese, Arabic and a host (...) of other languages. The stacked boxes of tapes are then presented like minimalist monoliths, dense archives of effort. About fifteen years ago, Ganahl began photographing the lectures that he attends. At the time, he hadn’t seen anyone else doing it, so besides his spare selection of images of the speaker and the audience, much of the time the lectures would just pass into memory, undocumented, or recorded in writing alone. Since then, he has felt the transition to digital cause a significant shift in his process. At the same time, he has seen the habit become ubiquitous as others photograph, record, and videotape the lectures all around him. In keeping with the theme of this inaugural issue of continent. , can we propose each small grouping of photographs that result an isthmus stretching between two disparate bodies of mind? The first being the body of the lecture as spelled out in the title of each work – the experience of the event in all its constituent parts. The second is the body of the recipient, the listener, in this case an artist, who plays a minimal role just beyond the prescripted behavior of sitting and listening. He uses a gesture of documentation to draw a line between himself and the event, creating an artwork. Františka + Tim Gilman: As we mentioned before, the theme of the magazine for this issue is "isthmus." It seems like a very good way into your work, and it leads us to ask what connection you see between your photographs of the lecture and the lecture itself? Rainer Ganahl: The relationship is of course a concrete, pictorial one, or if you want a mimetic one but also an abstract one because the photographs carry the title of the lecture, the names of the lecturers, the site, the institution and the time of the lecture. Photos are fixed moments of time and can reproduce images displayed and reproduce visuals presented at a moment but they don’t come with time based recordings that video or sound takes are offering. What remains of a lecture is usually just the memory, some notes and all the announcements of it. In my case I end up with a visual product I declare as my artwork. It might not differ from any snapshot taken by any other student or member of the audience but I do this in a semi-systematic way with certain rules and procedures I have set up. While I am at a lecture I am mainly focusing on the lecture itself. Last night I went to one of Slavoj Žižek which demanded quite some concentration. I even was asking him a question at the end. I took photos as well but still didn’t lose track of the lecture. I didn’t walk around, I was not preoccupied by where I was sitting and what light I was having like some of the other photographing and filming people in the room who came and left, moved around and tried to capture him from this and that angle, from close and far. I just sat there and concentrated on the lecture and yet managed to take about 30 or so images of him, the public around me and of the film clips he presented. Once the lecture is over the story changes: it all becomes a question of the images, their selection, their visual qualities, their labeling and archiving. The function of the images also change: not only do they stand for an intellectual event in a row of lectures that become part of my intellectual history within many possible such histories but they also have to function as art, something not everybody else with images of lecturers demands of their images. This is my specific claim as an artist to impose them as artworks. And as with all artistic propositions the offer can be accepted or rejected. I basically spend my life trying to do exactly that: making what I declare as art, offering something to anybody interested in it as my art, an offer that is not and will never be accepted as such by all people. F+T: What are your criteria for selection, i.e. how do you choose which lectures to photograph, by lecturer, by topic, or do you photograph any and every lecture you can? RG: As everything in my life, I go by my interest which is the result of many factors. If I am aware of a lecturer, read his books or appreciate his works my interest of attending his much higher than if I am not aware of it. I usually don’t go to lecturers simply based on their subjects—something that can happen of course, if the subject, the title of the lecture is promising or at the heart of my interest. Sometimes I also wait for years to get a change to photograph certain people but I do that in a very low-level “keep your ears up” mentality and not in a systematic scanning of all channels and possibilities. I do not go into philosophy departments and photograph everybody teaching there. I go with the flow—and unfortunately a great deal of great talks I also miss because I hear too late of them. Often, I also stumble into them by traveling, by getting emails from friends and by simply being in the right spot at the right time. Somehow you could look at my lecture par cours as some kind of loose intellectual flâneurism . If you know of interesting lectures and events, please, let me know. F+T: Is your selection of images more of a production or post-production method? That is, do you take a lot of photos and select only a few images from each lecture, or do you take them very selectively? Do you have a particular methodology for the selection of images? RG: This all changed a bit with the arrival of digital photography. In the beginning I had to pay a lot of money for film developing. Hence, I was taking either one role - 36 images - or half a role - 13 images - depending on who talked and whether they projected images. With the unlimited capacity of digital imaging I easily end up between 30 and 150 images of one event still depending of whether images are presented or not. In the first years of that project when I wasn’t fully aware yet of what I was doing, I printed at least 2 images of any lecture and sometimes three or even four, a choice that was also constrained by costs. But again, since I have a web site and since images can easily be selected and presented on my web site without generating remarkable costs I have now more and more pain to reduce them to less than ten or eight images for an event. Now, before I have them printed which really is expensive, I can present them already as artwork on my web site without any immediate costs. Thus the economic factor is at the end of the chain which enables me to be more ‘generous’ and include more images. Over the last years I have been mostly selecting at least four photographs for a lecture unit but recently also as many as ten. But so far only one set above four images has been actually printed and sold. What might sound even more shocking is the likely fact that if a curator or a collector demands me to reduce the number of images due to costs, I might compromise at this current stage if the images have not been yet printed or published outside my own web site. This means that to a certain degree any selection that has only seen publication on my web site and not yet been produced runs the risk to change in numbers of images included. Needless to say, I am the last one that finally makes a decision and I do honor all given earlier decision if those were final. F+T: How do you feel the act of photographing the lecture affects your reception of the contents of the lecture? And your recollection afterwards, do you remember the lecture more having photographed it, or just having sat and listened? RG: As mentioned above, I get very little distraction from photographing since I can multitask well and do not obsess about the quality of the image: I photograph from where I am and listen with my ears and not my eyes. I am not sure whether the images serve as a mnemonic devise to the content of the lecture if there are no images involved but they at least remind me that the lecture existed, the title of the lecture and the name of the people and institutions involved. The titles of the hundreds of lectures I took during the past 15 years can also be read as an essay of theoretical life in that period. This will be come more and more visible as time passes by. These images age much better than I do. F+T: You mentioned at the outset of our discussions that you started this practice some time ago and have seen the practice of photographing lecturers become more commonplace. Why do you think that this shift has taken place? RG: The answer is very simple. Photographing is now free of any charge and hence omnipresent. You buy a phone or any other personal digital assistant and it has a camera integrated in it whether you want it or not. There is no need to develop images and there is no hassle to keep images, to distribute images, to organize images and save them. It is all virtual, not creating any costs and doesn’t require any efforts. You don’t spend twenty dollars for photo-developing anymore, you don’t need to walk anymore to your pharmacy or your photo shop to drop off and return to pick up and pay. You don’t need to go to the post office to send somebody a picture. You have a program like Photoshop already built into your camera. Photographing is now a thing for everybody—with functioning cameras made for two year olds. It is technically now nearly impossible to make bad images. The image quality is virtually guaranteed by cheap, high performing, mini-computers packed into miniscule cameras. With all these technological changes, we are undergoing now a cultural paradigm shift that includes permanent recording (not only still image taking) of everything. I wonder even whether babies are just born to be photographed—at least a process where the first photograph is right there. What is interesting now, is how the law is trying to catch up. I am experiencing and expecting more restrictions on photographing and recording—something already in place in many museums and in certain galleries—as the recording devices become more and more invisible and undetectable. It is an interesting cat and mouse play and will end up with some of us that are photographing the world around us in court. The world has become very transparent and everybody is contributing to it with social networking technologies—like twitter and Facebook—that are designed to monitor and communicate every step we make in our lives. F+T: Why did you start the practice? As a way to remember, or to capture the experience of the lecture and the environment there? RG: A couple of years earlier I started to photograph my own reading seminars as part of my art work with results that surprised me positively. I really liked these images of students and people discussing heavy non-fiction with me. The reading seminars justified this kind of pictorialism. Then in 1995 I had the chance to attend an entire seminar by Edward Said entitled “The Representation of Intellectuals at Columbia University,” which really gave me the idea to start this series. Why not also photograph these lectures I visit all the time since this really is a way of representing intellectuals? F+T: The constellation of images and the title seem like a kind of portrait, do you agree? If so, is it a portrait of the speaker, of yourself, or of the event? RG: Well, to follow up on the previous question the lectures are more than just portraits of lecturers since I include not only the speakers but also the audience, an audience that is not named or specifically highlighted as is the speaker. So if we stick with the metaphor of the portrait we would have to extend it also to the environment, the class room, the lecture hall, the arrangements of seats or benches, tables, lecture stands and other stuff typically seen on my images. Often the walls are decorated or even tagged with graffiti or posters and other stuff. There is a big difference between a small seminar room at the English Department of Columbia University, full with books and cabinets and a lecture room at a Paris or Frankfurt university that accommodates 50 to 150 people. We should, maybe, also distinguish between lectures that are one time events—mostly open to the public, free of charge or paid—and events that are weekly, closed to the public and held mostly in universities that can cost fortunes or be paid by the State as it is still predominantly the case in continental Europe. All this, of course, is not necessarily announced in the title of the lecture and is subject to information that isn’t visible on the images. To a certain degree we see also portraits of a general privilege when it comes to the public of certain institutions that are highly selective and extremely costly without forgetting that most of the lectures are dealing with theory, art, philosophy and other highbrow subjects. In general, I would say we see very little if we don’t know already what’s going on, who the lecturer, the institutions, the context are in which we subsequently can zoom into variants like sexual, racial, or age-related make-up without ignoring clothing fashions, hair styling, body mannerisms, gadgets and stuff. F+T: Do you see a relation between this body of work and your other work, for example your language studies? RG: Everything I do is “unfortunately” related. I say unfortunately because this makes my work not so easy to grasp. The relationship to the language studies is relatively clear since both are originally grounded in the domain of education and knowledge production. Nearly all my work comes across that nexus where knowledge and power are addressed. I was at one point wondering what the relationship was to some of my earlier indexical work where I was happy alone with footnotes from books painted on the walls: I came to understand that both are just different manifestations of knowledge and information. F+T: Do you foresee continuing the series indefinitely, or is there an end to it? RG: I think that I will continue this series indefinitely or to be more precise, as long as I go listen to lectures and want to learn something which brings me to your previous question: What do the reading seminars, language studies, historical research and lecture hopping have in common: I learn something. Further Reading Rainer Ganahl’s website William Kaizen. “ Vulgar Politics .” art&education . April 2009. Web. Smith, Roberta. “ Rainer Ganahl: ‘Language of Emigration & Pictures of Emigration .’” New York Times April 23 2010. Web. (shrink)

Video data has now become the most common form of data for educational researchers studying classroom interaction and school culture. Software protocols for analysing vast archives of video data are deployed regularly, allowing researchers to annotate, code and sort images. These protocols are often applied by researchers without reflection or reference to the extensive philosophical work in film and media studies. Without exception, this research treats the video image as movement-image or picture, a recording of ‘raw data’, indexical of a (...) given time-space relationship. In this article I situate this kind of research within the history of scientific cinema, drawing on Deleuze's books on cinema, as well as his ideas on colour and figure from The Logic of Sensation, to propose an alternative way of analysing video data. One of the central claims of Deleuze in Cinema 2 is that the time-image reconfigures bodies as expressions of force – the body becomes a ‘shock of forces’. I argue that such an approach allows us to study the student body as less a phenomenological organism with built-in ‘I can’ cognitive and motor capacities, and more an indeterminate crystalline contraction and expansion of intensity. I present an example of how to study classroom video data as time-image, and explore the implications of such work for education research. (shrink)

A question arising from the COVID-19 crisis is whether the merits of cases for climate policies have been affected. This article focuses on carbon pricing, in the form of either carbon taxes or emissions trading. It discusses the extent to which relative costs and benefits of introducing carbon pricing may have changed in the context of COVID-19, during both the crisis and the recovery period to follow. In several ways, the case for introducing a carbon price is stronger during the (...) COVID-19 crisis than under normal conditions. Oil costs are lower than normal, so we would expect less harm to consumers compared to normal conditions. Governments have immediate need for diversified new revenue streams in light of both decreased tax receipts and greater use of social safety nets. Finally, supply and demand shocks have led to already destabilized supply-side activities, and carbon pricing would allow this destabilization to equilibrate around greener production for the long-term. The strengthening of the case for introducing carbon pricing now is highly relevant to discussions about recovery measures, especially in the context of policy announcements from the European Union and United States House of Representatives. Key Policy Insights: • Persistently low oil prices mean that consumers will face lower pain from carbon pricing than under normal conditions. • Many consumers are more price-sensitive during the COVID-19 context, which suggests that a greater relative burden from carbon prices would fall upon producers as opposed to consumers than under normal conditions. • Carbon prices in the COVID-19 context can introduce new revenue streams, assisting with fiscal holes or with other green priorities. • Carbon pricing would contribute to a more sustainable COVID-19 recovery period, since many of the costs of revamping supply chains are already being felt while idled labor capacity can be incorporated into firms with lower carbon-intensity. (shrink)

The theme of essential futility, absurdity, utter incomprehensibility of life and death is stressed in almost allthe writings of Albert Camus. Like Buddha he was shocked by the sight of human misery and mortality. Yet, paradoxically was attracted to the essential desirability of it. Although completely ruffled by the consciousness of an ambiguous and silent God, he was not unaware of “that strange joy that comes from a tranquil conscience”, a perfect inner harmony one experiences on attaining true knowledge. Upanishads (...) are a search for this very reality underlying the flux of things. Malraux, Sartre, and others had already developed this line of thought before Camus. What is essential and original in him is, firstly, that the world’s absurdity not a cause for despair, but on the contrary, a spur to happiness. And secondly, that , mortality and suffering actually enhance the value of life: they invite men to live more intensely. In addition to absurdity another subject the Upanishads insistently deal with is ethics, the purity of human conduct. Very much in the manner of the Existentialists, the Upanishads, aeons before, hold man himself responsible for his actions. Dr. Radhakrishnan, very aptly says that Existentialism is a new name for an ancient method. In Albert Camus and India Sharad Chandra has put forward a convincing comparative study of the two philosophies as expounded in their respective literatures. Her argument is that the parallel ideas found in the two views are not mere fortuitous conclusions but, either the result of seminal influence, or emanation of a common, deeper vision. Reading of the book will help the reader to form a firm opinion. Camus had read the Gita and had attended the lectures given by Swami Shraddhananda of the Ramakrishna Mission in Paris. (shrink)

In January 2012, the Journal of Medical Ethics published online Giubilini and Minerva's paper, ‘After-birth abortion. Why should the baby live?’.1 The Journal publishes articles based on the quality of their argument, their contribution to the existing literature, and relevance to current medicine. This article met those criteria. It created unprecedented global outrage for a paper published in an academic medical ethics journal. In this special issue of the Journal, Giubilini and Minerva's paper comes to print along with 31 articles (...) from some of the best scholars in the world, from the broadest range of perspectives on abortion and infanticide, including those strongly critical of Giubilini and Minerva.The killing of a baby is among the most shocking of human practices. I am strongly opposed to the legalisation of infanticide along the lines discussed by Giubilini and Minerva. But I would like to explain why a journal of medical ethics published an article examining infanticide and now devotes a special issue to bringing a wide range of perspectives for further examination of these issues.Infanticide has been practised throughout human history for various reasons and continues to be practised today throughout the world. In rare cases, infanticide can be practised openly and legally—for example, as specified under the ‘Groningen Protocol’, in the Netherlands. The Groningen Protocol allows doctors to end the life of neonates at the request of their parents if the infant is experiencing hopeless and unbearable suffering.2But medical infanticide arguably occurs elsewhere other than in the Netherlands today.In neonatal intensive care, it is not uncommon for a doctor to withdraw artificial ventilation with the consequence that a baby dies.3 If anyone else performed that act, including the parents of the child, it would be viewed as an act of homicide, in some cases …. (shrink)

We considered peculiarities of the evolution of a region with sharp boundaries that is filled with a partially ionized plasma and is a part of the volume of a condensed target. The creation of such a region in the near-surface layer of the target can be related to the action of an external impulse symmetric ionizator or to the action of an intense small-extension shock wave on the target surface. We defined the conditions such that their fulfilment during the (...) establishment of the equilibrium between the Coulomb attraction of electrons and ions with atom ionization multiplicity Z* 1 and the kinetic pressure of electrons causes both the compression of this region and its ionization to the state with Z* 2 > Z* 1. The last leads to a further additional compression and ionization. Under these conditions, the spontaneous avalanche-like ionization of atoms of the target to the state of ‘‘bare’’ nuclei occurs synchronously with the avalanche-like metallization and the self-compression of the target. We showed that the avalanche-like ionization and the self-compression of the target happen in the case where the gas of degenerate electrons has drift momentum. If the region with initial ionization has the form of thin spherical layer, the process of avalanche-like ionization and self-compression of the target in this region is accompanied by the accelerated movement of the plasma layer to the target center. One of the reasons for the accelerated movement is the surface tension in a bounded domain of the nonequilibrium plasma layer neutralized by ions of the target. With increase in the velocity of movement of this layer to the target center, the additional self-compression of the system of electrons and nuclei to the state of degenerate electron gas occurs. At the leading edge of the running layer with extremely high electron density which is neutralized by nuclei of the target, the formation of a collapse of the electron--nucleus system proceeds, and the binding energy maximum for the electron--nucleus system shifts from A≈60 to A ≫ 60. This result makes possible the fast synthesis of superheavy nuclei. The decay of the collapse state, a partial restoration of the target structure, its rapid cooling, and the condensation of a part of the products of nuclear reactions happen in the target volume at the trailing edge of the moving plasma layer. Upon such a scanning propagation of the wave with high electron density, all the target substance is involved, step-by-step, to the process of nuclear transformations. At the target center, the moving plasma layer is squeezed with the formation of the state of quasistationary collapse under inertial confinement. Then the collapse state decays irreversibly. (shrink)

When someone close to us dies, we usually say that we are with them ‘in our thoughts’ or that they remain alive in our minds. The film Vital challenges this disembodied view of grief by posing the following question: what would grief be like if we could keep the dead with us not only in our memories, but materially? The film provides an intriguing answer to this question, provided through a unique setting, that of a medical school dissection class. Despite (...) the macabre setting, Tsukamoto’s aim is not to shock but to offer an intense meditation on the embodied nature of mourning. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Piety, Justice, and the Unity of VirtueMark L. McPherranNo doubt the Socrates of the Euthyphro would be delighted to encounter many of its readers, offering as they do an audience of piety-seeking interlocutors, eager to mend the dialogical breach created by Euthyphro’s sudden departure. Socrates’ enthusiasm for this pursuit is at least as intense and comprehensible as theirs. We are told, after all, that he will never abandon his (...) quest for knowledge of “what the pious is” (15c–16a), since not only is this enterprise both pious and “inconceivably happy” (cf. Ap. 41c3–4) in itself,1 but coming to understand piety would allow one to “live better the rest of one’s life,” (15e7–16a4), especially should its continuation be threatened by a charge of impiety (3b–d, 5a–c, 12e, 15e–16a).2 My own search here is no less happy and ambitious, since I wish to uncover Socrates’ own, implicit understanding of piety and its relation to his claim elsewhere that “the virtues are one.”3 The account of this I shall provide will also touch on Platonic piety, although this notion obviously rests on a tendentious distinction. Nevertheless, there do seem to be some interesting differences between the way piety is treated in elenctic dialogues such as the Euthyphro and Protagoras, and the more explicitly theory-laden, constructive works such as the Republic and Laws. I shall later characterize [End Page 299] these differences, primarily in terms of the more carefully articulated, internalist moral psychology of the Republic.42. SOCRATIC PIETYThe distinct phenomena the term “religion” popularly designates for us were for the Greeks seamlessly integrated into everyday life. Thus, it is natural that the term “piety”—εὐσέβεια—carried a wider sense than our English equivalent commonly does: it concerned not only one’s immediate relation to the gods—emphasizing proper religious conduct and carrying a sense of respect and fear towards divinity (concomitant with a grasp of one’s own mortal limits)—but also often designated appropriate behavior towards parents, native land, and the dead.5 It is to this rough, inclusive conception of piety that Euthyphro appeals when confronted by Socrates on the Porch of the King (2a–6a). Moreover, and despite his own shockingly irreverent attempt at father-bashing and the subsequent elenctic drubbing he then receives from Socrates, toward the close of the dialogue Euthyphro still manages to envision piety in the quasi-traditionalist fashion with which he began—as “a knowledge of how to ensure the preservation of families and states by gratifying the gods through proper prayer and sacrifice” (14b; cf. 14c–15c).6 It is, however, precisely [End Page 300] at this dramatic juncture (14a–c) that we find—arguably—the final elements of a Socratically-acceptable conception of piety; one that builds upon Euthyphro’s initial concession to Socrates that piety and “human justice” are to be distinguished from one another (11e–12e). This, in turn, is a move that in principle forces Euthyphro to disengage from those aspects of the traditional conception of piety which would—from Socrates’ perspective—conflate the two.7 Recent challenges to this reading, however, have seen in Euthyphro’s initial holism not the heterogeneous presumptions of popular thought, but a semi-sophisticated grasp of the Socratic unity of the virtues.8 And since it does appear that the character Euthyphro is designed to serve not only as a hubristically-inflated, Homeric “fundamentalist,” but as an odd and Sophistically-influenced doppelgänger of Socrates as well—a lesson, that is, in what Socrates both is and is not—it now seems worthwhile to reexamine the view that Socratic piety is but a part and not the whole of justice.9Turning to our text, then, we discover that following the failure of Euthyphro’s initial definitional attempts to specify the nature of pious action and the resulting aporetic interlude, Socrates is willing to offer Euthyphro renewed assistance (11e1–4). This he does by asking whether all the just is pious, or whether justice is broader than piety such that piety is then merely a “part” (μóϱιον) of justice (11e4–12e5). Subsequent to his explanation of these alternatives, Socrates... (shrink)

To compare Merleau-Ponty’s and Deleuze’s phenomenal bodies, I first examine how for Merleau-Ponty phenomena appear on the basis of three levels of integration: 1) between the parts of the world, 2) between the parts of the body, and 3) between the body and its world. I contest that Deleuze’s attacks on phenomenology can be seen as constructive critiques rather than as being expressions of an anti-phenomenological position. By building from Deleuze’s definition of the phenomenon and from his more phenomenologically relevant (...) writings, we find that phenomena for him are given to the body under exactly the opposite conditions as for Merleau-Ponty, namely that 1) the world’s differences 2) appear to a disordered body that 3) comes into shocking affective contact with its surroundings. I argue that a Deleuzian theory of bodily-given phenomena is better suited than Merleau-Ponty’s model in the task of accounting for the intensity of phenomenal appearings. (shrink)

The studies that make up this book were written and brought together to honor the memory of Jan Pinborg. His unexpected death in 1982 at the age of forty-five shocked and saddened students of medieval philosophy everywhere and left them with a keen sense of disappoint ment. In his fifteen-year career Jan Pinborg had done so much for our field with his more than ninety books, editions, articles, and reviews and had done it all so well that we recognized him (...) as a leader and counted on many more years of his scholarship, his help, and his friendship. To be missed so sorely by his international colleagues in an academic field is a mark of Jan's achievement, but only of one aspect of it, for historians of philosophy are not the only scholars who have reacted in this way to Jan's death. In his decade and a half of intense productivity he also acquired the same sort of special status among historians of linguistics, whose volume of essays in his memory is being G. L. Bursill-Hall almost simultane published under the editorship of ously with this one. Sten Ebbesen, Jan's student, colleague, and successor as Director of the Institute of Medieval Greek and Latin Philology at the University of Copenhagen, has earned the gratitude of all of us by memorializing Jan 1 in various biographical sketches, one of which is accompanied by a 2 complete bibliography of his publications. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Experiences of an Obese PatientChristine R. BrassIn the middle of an annual pelvic exam, the gynecologist said to me, “You should apply to be on ‘The Biggest Loser.’” I was too stunned and embarrassed to mutter anything more than a [End Page 88] comment that I didn’t think that, being quite introverted, I was a good candidate for a reality TV show. She argued with me about that. I (...) felt blindsided, intensely vulnerable, and dumbstruck—completely unable to respond—and later, when the shock wore off, incandescent with impotent rage.Four years later, I still don’t have words to adequately describe my outrage at this comment. It was only the second time I’d see this medical professional. The first time was the previous year, when she had been filling in for my regular doctor who was on maternity leave. At neither appointment did this physician ask me any questions about my lifestyle, whether or not I saw a primary care physician, or even if I had any concerns that day. She was very brisk, efficient and did not engage in conversation. Such a statement coming from a health care provider, who did not seek to understand or gather more information, surprised and dismayed me.Other incidents where physicians’ statements were not helpful:• Pediatrician: “Well, my wife has had great success with Weight Watchers.”—I was age 12, about 5’5 and weighted about 145 lbs. at that time. If you look at photos of me at the time, you would see I was not overweight.• Orthopedic Surgeon: “If you want her to look better, make her lose weight.”—This was directed to my mother. I was 19, weighed about 200 lbs., and in his office as per his directions to come back in seven years to see if the surgery he had done on my neck needed more attention.• Internist: “How did you get all those stretch marks?”—I was age 24, weighed approximately 220 lbs., and had lost and gained 50 or so pounds several times as a teenager and in college.• Gynecologist: “Lose weight and your periods will be regular.”—I was age 27, weighed 227 lbs. and my periods, which started at age 15, had never been regular.• Another Orthopedic Surgeon: “You don’t have to worry about osteoporosis; everything you do is a weight–bearing exercise.”—I was age 42 and weighed 300 lbs. This was after follow up surgery to remove pins from a broken ankle that had healed and I had asked about whether or not I should have a bone density test.Coming from a genetic heritage of predominately tall, large–boned people, I was tall and proportionally large compared to other girls my age until high school, when the others caught up. I was told I had to “watch my weight” by family members from my pre–teen years. Enforced dieting ensued, with little result because I wasn’t fat. I did not begin to be overweight until my junior and senior years of high school. I was 5’7” when I graduated from high school and weighed 187. By the time I graduated from college, I was no taller but 50 lbs. heavier. Now, nearing my 40th high school reunion, I am 120 lbs heavier than that. During the intervening years, I have done Weight Watchers®, TOPS®, medically–supervised programs (group and individual), and other popular diets, with periodic but temporary success, and hypnosis and aversion therapy, with no success at all.Over the years, I have been insulted, verbally abused, even bullied, because of my weight. I have been treated as though I am invisible, worthless, and stupid—a pariah. As a result, I have felt invisible, worthless, and stupid, even though I know I am none of those things. I have experienced and been treated for clinical depression. The descent into depression began in my late teen years, which was the time when I started gaining excess weight.In 2004, under medical supervision, I lost 70 lbs. over four–month period. I was delighted to finally lose a substantial amount of weight and feel physical lighter. My diabetes medications were significantly reduced, and... (shrink)

ABSTRACT This article focuses on the role that the concept of “presence of mind” (Geistesgegenwart) plays in Walter Benjamin’s thought, deepening lines of interpretation that are connected to other relevant concepts such as “attention” (Aufmerksamkeit) and “now-time” (Jetztzeit). It examines elements of Benjamin’s work that develop the philosophical importance of presence of mind, emphasizing its corporeal dimension and its aesthetic and critical relevance. The analysis covers fve lines of interpretation that intersect in different ways: (i) presence of mind is a (...) form of thought/action that should be cultivated as a way of dealing with the experience of shock; (ii) having presence of mind is an attitude that can be exercised; (iii) “seizing the day” involves the body and presupposes an experience of intensive time; (iv) the conceptual framework of presence of mind integrates elements related to play; and (v) by valuing the present, presence of mind implies a relationship between danger and a critical gesture – in Benjamin’s historical and political reflection, this gesture intertwines the individual and the collective dimensions. (shrink)

A significant factor undermining real racial reconciliation in post-1994 South Africa is widespread resistance to shared historical responsibility amongst South Africans racialised as white. In response to the need for localised ‘white work’, this article aims to contribute to the uprooting of white denialism, specifically amongst Afrikaans-speaking Christians from Reformed backgrounds. The point of entry is two underexplored, challenging, contextualised crucifixion paintings, namely, Black Christ and Cross-Roads Jesus. Drawing on critical whiteness studies, extensive local and international experience as a ‘participatory’ (...) facilitator of conflict transformation and his particular embodiment, the author explores the creative unsettling potential of these two prophetic ‘icons’. Through this incarnational, phenomenological, diagnostic engagement with Black Christ, attention is drawn to the dynamics of family betrayal, ‘moral injury’ and idolisation underlying ‘white fragility’. ‘White fatigue’ is challenged by stressing the Biblical nature of Cross-Roads Jesus’ confrontational, ‘ugly’ portrayal of the systemic violence of apartheid and colonialism. It is also argued that a combination of Louw’s shocking portrayal of an enraged, emaciated township Jesus with the explicit depiction of white historical responsibility in Black Christ increases the counter-cultural potential of these icons to disrupt denial amongst white South African Christians. However, the realisation of this potential will require the cultivation of more capacity to work creatively with the intense emotional, moral, spiritual discomfort brought to the surface by this type of religious icon.Contribution: The article argues for a contextualised, South African engagement with the crucifixion of Christ, through an embodied interpretation of two anti-apartheid religious paintings. It makes a contribution to critical whiteness studies and practical theology and thus fits into the interdisciplinary, hermeneutical scope of HTS. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Judgement and Sense in Modern French Philosophy: A New Reading of Six Thinkers by Henry Somers-HallClayton CrockettSOMERS-HALL, Henry. Judgement and Sense in Modern French Philosophy: A New Reading of Six Thinkers. Cambridge: Cambridge University Press, 2022. 264 pp. Cloth, $99.99Henry Somers-Hall's book examines how French philosophers in the twentieth century develop a logic of thinking based on sense that is both influenced by but also counters Kant's paradigm (...) of thinking, which is based on judgment. Beginning with Kant and German idealism, including the German responses to Kant in the work of Hölderlin, Fichte, Schelling, and Hegel, this book then carefully draws out the ways that Bergson, Sartre, Merleau-Ponty, Derrida, Foucault, and Deleuze all work against this understanding of thinking as judging by showing how our experience and our thought precede the categories of judgment.In chapter 1, Somers-Hall carefully sets out Kant's model of thinking and shows how the categories of philosophical thought are fundamentally based on how we judge our sensible intuitions. Judgment is at the center of Kant's thought, and this is apparent in the Critique of Pure Reason, including the famous Transcendental Deduction. Our knowledge has a legislative function in relation to objects, and conscious synthesis takes the form of a judgment. Despite their criticisms of Kant, later German idealists do not fundamentally depart from this modality of judgment that takes place at the center of their philosophy. Even though they put Kant's concepts in motion, it remains a structure of judgment that is understood as dynamic.Chapter 2 turns to Bergson, to show how his emphasis on immediate experience precedes categorical judgement. Bergson distinguishes between temporal and spatial multiplicities, and argues that temporal multiplicities that are expressed in terms of duration underlie the spatial ones that contribute to judgment. Duration is a deeper experience of time that is associated with life. Somers-Hall in chapter 3 examines Sartre's writings on imagination to show how consciousness is a pure relation and an affective mode of thinking that underlies the categorial mode of judgment.Most of these French philosophers develop their accounts of noncategorial sense in either explicit or implicit relation to Kant's philosophy. Merleau-Ponty is no exception, and in chapter 4 we see how it is the organization of perception that gives sense to the world, and this precedes and generates "our reflective categories of judgement." Judgment emerges out of perception, although Merleau-Ponty grounds perception in the embodied person. Derrida does not ground sense or [End Page 365] thinking in a body, but looks for noncategorial grounds that make possible "surface structures of thinking." In chapter 5, Somers-Hall elaborates Derrida's famous nonconcept of différance, which underlies and makes possible our concepts of voice and writing that appear to be oppositions but in fact are not because they rely on each other. Différance is not a concept; it is prior to conceptual determination, and it "operates as an 'origin' that has none of the traits of the structure of judgement."Foucault relies on Kant for his three epistemes of resemblance, representation, and the human being, modern man. Chapter 6 shows how Foucault is concerned in both his archaeology and his genealogy with opening up the structures of power that make any juridical ordering possible. Here a productive biopower works beneath what we recognize more explicitly as "juridico-discursive power" in both positive and negative ways that escape the grasp of a philosophy that is solely based on judgment.In chapter 7 Somers-Hall shows how Deleuze's concept of intensity underlies all forms of representational judgment. Intensity operates according to a process of differentiation that produces a logic of sense, which we miss when we grasp onto a "dogmatic image of thought" that "prevents a genuine encounter with the world [that] conditions us to understand it in terms of unified subjects who make sense of the world in terms of judgements." We think in response to a shock or an encounter with something in the world that forces us to think and to make sense. We form judgments retroactively, by reducing differences to... (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)

In lieu of an abstract, here is a brief excerpt of the content:NEWMAN'S PSYCHOLOGICAL DISCOVERY: THE ILLATIVE SENSE (V. Continued) 15. The Universals. A long and vehement dispute once raged about the reality of universals. Are they only mental creations, forged by the human brain, without any reality outside them, or have they some independent existence apart from their mental reality? Anyhow, there was an apparent contradiction between die universal character of our ideas and the individual character of concrete things. (...) The Scholastics solved this problem by drawing clear distinctions. An idea is an abstraction; as soon as it becomes applicable to a number of objects or things in the same sense, it is a universal idea. The "direct universal" (universale directum seu metaphysicum) as such has no existence apart from our minds, because an existing thing is always bound up with concrete, determining, individualizing notes, and it is these very circumstances or accidents which are ignored by the mind as it strips the thing of its individual characteristics. When the mind reflects on this "direct universal," i.e., on the abstract essence of the thing, it sees that this is to be found in many more things and that it is identical in all those things, and in this way the "reflex or logical universal" is formed (universale reflexum seu logicum). This same essence or quiddity is not really different from the thing itself, but the mind makes abstraction of all accidents, and this foundation makes it possible to apply this idea in die same sense to all other beings of the same kind, whether they are actually existing or not. In other words the universal as a universal has only reality in the mind but it has a foundation or a ground in the thing itself. Newman was not so well acquainted with Scholasticism that he knew and mastered the solution of the problem. As a matter of fact he approached it from quite another angle. Hence when scholastically trained minds read some of his statements on universals, they may feel shocked. They sound very curious, they seem incon418 DR. ZENO, O.F.M. CAP.419 sistent with each other, they apparenüy imply a negation of the objective reality of universals. This makes it necessary to compare the texts and to explain his meaning. a. Newman Inconsistent. We should never lose sight of the fact that Newman had no intention at all to enter the province of philosophy in the restricted sense of the word. "I am only contemplating the mind as it moves in fact, by whatever hidden mechanism,"1 that is what could be put as a heading to every page of the Grammar of Assent. And when he virtually deals with metaphysics, he wants us to consider his statements as hypotheses, or as propositions stated only by the way, and in this department he always wishes "to speak under correction." This explains how he could refer to the universale metaphy sicum and the universale directum in a very correct way without realizing he was teaching Scholastic doctrine. As far as I know, it is Professor Walgrave who has first drawn attention to this fact,2 when he dealt with Newman's alleged conceptualism. Newman states that "even one act of cruelty, ingratitude, generosity or justice reveals to us at once intensive the immutable distinction between those qualities and their contraries; that is, in that particular instance and pro bac vice."3 The same holds for the opposites: right and wrong, true and false, just and unjust, beautiful and deformed.4 In one experience, therefore, he sees a thing as an immutable, absolute quiddity, which objectively and in the same sense belongs to all possible things of the same kind, although the mind does not yet explicidy confirm this universal applicability. The contemplated quality remains limited to the particular case; but in its absoluteness it is stripped of all individual, changeable and concrete characteristics. This is the metaphysical universal of the Scholastics. But Newman also mentions the logical universal when he says: "As we form our notion of whiteness from the actual sight of snow, a lily or a cloud, so, after experiencing the sentiment of approbation which arises in us on the sight of certain... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Shimmering Maya and Other EssaysPatrick HenryThe Shimmering Maya and Other Essays, by Catharine Savage Brosman; 149 pp. Baton Rouge: Louisiana State University Press, 1994, $24.94.When the author was fifteen, she held the rank of “prospector” at Girl Scout Camp. Now, over forty years later, she is “digging down through the layers, sifting through the running stream of memory” (p. 14). Her art of prospecting affords the reader (...) a linear impression of a journey that begins with “The Shimmering Maya,” a recountal of a family move in August 1944 from Colorado to South Texas. “Desert Silvery Blue” describes life in Alpine, Texas, while “Leaving for Good” narrates her experience of displacement as she departs Alpine in 1951 to attend Rice Institute, known then as “the atheist school” (p. 37). From Alpine to Houston, she experiences the greening of America and the shock of Gulf Coast humidity, “a sensation of being hit in the face and smothered” (p. 42). At Rice, she finishes her degrees, travels to France, her intellectual home, and returns, in “Cherry Time”—“Yes, Virginia, there is a Virginia” (p. 52)—to describe her life in full bloom during this relatively short but intense period, spent in and around the state of Virginia, before her permanent move to New Orleans. Two essays conclude the volume even as they bend back toward its beginning. “Winter Light” narrates the life of her grandfather, Edward Hill, newspaperman, teacher, doctor, writer, and formidable learner whom she knew only in the winter of his life but whose light illuminated her being and “whose heir I feel, or wish, myself to be” (p. 130). “Turn My Face Out to the West” recounts a recent camping trip in New Mexico but, more profoundly, a return to the Western land of her youth. Like the Anasazi and Pueblo Indians, she too was born there and, reclaiming their heritage as partly hers, extols their solar-based science, courage, sense of community, independent spirit, and love and respect for the land.Brosman paints being, however, as well as becoming. Essays six through eleven focus more centrally than the others on her habitual self: her self-portrait as teacher, scholar, poet, traveler, and traditional woman. As a teacher of language, she offers “at once an end and a means” (p. 86) and, as literature teacher, not “entertainment chiefly but the pursuit of truth” (p. 88), undogmatically attempting to elicit self-awareness without imposing a single view. [End Page 136] A traditional woman who has never felt uncomfortable around men and doesn’t consider them her enemies, Brosman thinks Women’s Studies are “regressive” (p. 84), deplores language “barbarisms” such as “chairperson” and “herstory” (p. 75), and holds for a “nongendered intellectual patrimony of arts, letters, and science” (p. 84). While she admits that it’s a miracle that all marriages don’t simply fall apart, the differences between the sexes, she argues, constitute “the whole basis for attraction” (p. 70), and she prefers her cigar-smoking husband “to men who boast about their Hollandaise sauce” (p. 70). Not interested “in valorizing only the male principle” (p. 70), she seeks “vigor of mind” in all persons and considers herself a “feminist in the cupboard,” one who operates within the family but travels freely and enjoys a rich professional life. She links herself to her Aunt Margaret and other “closet feminists” (p. 100) in her family’s history who demonstrated self-reliance and a sense of their own value, and argues, against de Beauvoir’s thesis in The Second Sex, that female work for American women of the nineteenth century did indeed, like male work, go beyond biology “to remake the world through invention (production)” (p. 102).Brosman demands a metaphysical self-consciousness that recognizes unhappiness, anguish, and disorder but concomitantly posits the good life as the synthetic unity of the mind, body, and heart. This metaphysical consciousness is deeply rooted in the physical world—we are not only in the world but of it—and in a shared sense of place and a commitment to communal enterprises. Her thought is perhaps above all characterized throughout by a sense of “grace” and the “intimation of... (shrink)

Considering his status as the best fighter on the Trojan side, Hector’s flight in “Iliad” 22.131-7 is unexpected and surprising, even though Hector is never overtly reproached for his reaction. This article proposes a psychological explanation for Hector’s behaviour, drawing on recent insights concerning combat stress reaction (CSR) and post-traumatic stress disorder (PTSD): Hector does not flee from fear of death, but from the “Wind of Hate”, i. e. the terror felt when confronted with direct and personal aggression. An examination (...) of the actions of Achilles in the “Iliad” supports this conclusion, for Achilles exhibits behaviour which would qualify for a diagnosis of antisocial personality disorder. The intense personal hatred of Achilles is sufficient to shock Hector into flight, even if he ultimately recovers and heroically faces Achilles in battle. Thus, the scene bears testimony to the “Iliad”’s understanding of the universal human experiences of warfare and aggression. (shrink)