Search results for 'R. Z. D' (try it on Scholar)

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  1. Brian R. Clack, A. B. P. & R. C. B. (1996). Robert Audi, Ed. The Cambridge Dictionary of Philosophy. Pp. Xxviii+882. (Cambridge: Cambridge University Press, 1995.) £55.00 Hbk, £17.95 Pbk.Stephen R.L. Clark. How to Live Forever: Science Fiction and Philosophy. Pp. Vii+223. (London: Routledge, 1995.) £40.00.D. Z. Phillips. Introducing Philosophy. Pp. Xii+206. (Oxford: Blackwell Publishers, 1996.) £40.00 Hbk, £11.99 Pbk.Paul Ricoeur. Figuring the Sacred: Religion, Narrative and Imagination. Pp. Viii+340. (Minneapolis: Fortress Press, 1995.)Frederick Sontag. Wittgenstein and the Mystical: Philosophy as an Ascetic Practice. Pp. Xii+167. (Atlanta, Georgia: Scholars Press, 1995.) $34.95 Hbk, $22.95 Pbk. [REVIEW] Religious Studies 32 (4):529-531.score: 84.0
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  2. Brian Clack, A. B. P. & C. B. (1996). Dan Cohn-Sherbok. Judaism and Other Faiths. Pp. 186. (Basingstoke & London, Macmillan: 1994.) £40.00.Dan Cohn-Sherbok & Christopher Lewis (Ed.). Beyond Death: Theological and Philosophical Reflections on Life After Death. (Basingstoke & London, Macmillan: 1995.) Pp. Xii + 219. £40.00 Hbk, £14.99 Pbk.Roy D. Morrison, II. Science, Theology and the Transcendental Horizon: Einstein, Kant and Tillich. (Atlanta, Scholars Press: 1994.) Pp. Xxiii + 460. $59·95 Hbk, $39·95 Pbk.Dewi Z. Phillips, J. R. Jones. (Cardiff, University of Wales Press: 1995.) Pp. 122. £4·95 Pbk.Jean Porter. Moral Action and Christian Ethics. (Cambridge: Cambridge University Press, 1995.) Pp. 254. £35·00.Frank E. Reynolds & David Tracy (Eds). Religion and Practical Reason: New Essays in the Comparative Philosophy of Religions. (Albany: State University of New York Press, 1994.) Pp. Ix + 444. $21.95.Keith E. Yandell. The Epistemology of Religious Experience. (Cambridge: Cambridge University Press, 1993.) Pp. Viii + 371. £. [REVIEW] Religious Studies 32 (1):139.score: 81.0
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  3. R. F. Khan (1984). D. Z. Phillips on Waiters and Bad Faith. Philosophy 59 (229):389 - 391.score: 51.0
    Professor D. Z. Phillips in (Philosophy56, 1981) assigns to Sartre the view that , i.e. the profession of waiting as such is in bad faith. What could (...)
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  4. R. F. Holland (1998). Rush Rhees on Religion and Philosophy D. Z. Phillips (Ed.) Cambridge University Press, 1997, Pp. XII + 389, £50 (US $69.95) Hb. [REVIEW] Philosophy 73 (3):495-523.score: 39.0
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  5. O. R. Jones (1967). The Concept of Prayer. By D. Z. Phillips. (London: Routledge and Kegan Paul. 1965. Pp. 167. Price 25s.). Philosophy 42 (159):96-.score: 39.0
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  6. E. Z. Nemesszeghy & E. A. Nemesszeghy (1973). On the Creative Role of the Definition (PQ) = (∼PQ) D F in the System of Principia: Reply to V. H. Dudman (I) and R. Black (II). [REVIEW] Mind 82 (328):613-616.score: 39.0
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  7. R. F. Atkinson (1971). Moral Practices, By D. Z. Phillips and H. O. Mounce. (Routledge and Kegan Paul, London, 1969. Pp. Viii + 135. Price £1.60.). [REVIEW] Philosophy 46 (176):179-.score: 39.0
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  8. Ari Z. Bryen (2013). D. Liebs Summoned to the Roman Courts. Famous Trials From Antiquity. Translated by Rebecca L.R. Garber and Carole Gustely Cürten. Pp. Viii + 274. Berkeley, Los Angeles and London: University of California Press, 2012. Cased, £41.95, US$60. ISBN: 978-0-520-25962-1. [REVIEW] The Classical Review 63 (2):534-536.score: 39.0
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  9. R. J. (1994). [Z Nowości Zagranicznych] Zagadnienia Filozoficzne W Matematyce J.M. Folina, Poincaré and the Philosophy of Mathematics, 1992. K. Jacobs, Invitation to Mathematics, 1992. D. M. Davis, The Nature and Power of Mathematics, 1993. G. Hellman, Mathemati. [REVIEW] Zagadnienia Filozoficzne W Nauce 16.score: 39.0
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  10. V. Z. Belenky & A. M. Belostotsky (1989). Resource Allocation and Project Selection: Control of R & D Under Dynamic Process of Data Improvement. Theory and Decision 26 (1):1-35.score: 39.0
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  11. Brian R. Clack (1995). D. Z. Phillips, Wittgenstein and Religion. Religious Studies 31 (1):111.score: 39.0
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  12. R. M. Cook (1973). A. D. Trendall: Greek Vases in the Logie Collection. Pp. 83; 40 Plates. Christchurch, N.Z.: University Canterbury, 1971. Stiff Paper. [REVIEW] The Classical Review 23 (02):290-.score: 39.0
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  13. J. R. S. Fincham (1986). Genetics, From A to Z. A Dictionary of Genetics. By Robert C. King and William D. Stansfield. O.U.P., 1985 (3rd Ed.). Pp. 480. £25. [REVIEW] Bioessays 4 (2):91-91.score: 39.0
  14. D. Z. Philips (ed.) (2008). Studies in the Ethics and Philosophy of Religion (Pod). Routledge.score: 39.0
    Routledge is proud to reissue these nine pivotal titles from the acclaimed series Studies in Ethics and the Philosophy of Religion. Including key works by Ahern, Beardsmore, (...)
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  15. Peter Singer, D E B at E.score: 36.0
    An d rew Ku per begins his cri ti que of my vi ews on poverty by accepti n g the crux of my moral argument: The (...)
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  16. H. P. A. Boshuizen, H. C. Boxsahin, D. Chapman, Z. Dienes, N. V. Findler, J. C. Glasgow, V. Goel, R. M. Pilkington, Rumelhart de & H. G. Schmidt (1992). Ahn, W., 81 Martin, JH. 233 Alterman, R., 205 Medin, DL, 81 Bookman, LA, 205 Bordage, Cl., 185. Cognitive Science 16:583.score: 36.0
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  17. Berit Soli-Holt & Isaac Linder (2013). The Call of The Wild: Terro(I)R Modulations. Continent 3 (2):60-65.score: 36.0
    This piece, included in the drift special issue of continent. , was created as one step in a thread of inquiry. While each of the contributions to drift (...) stand on their own, the project was an attempt to follow a line of theoretical inquiry as it passed through time and the postal service(s) from October 2012 until May 2013. This issue hosts two threads: between space & place and between intention & attention . The editors recommend that to experience the drifiting thought that attention be paid to the contributions as they entered into conversation one after another. This particular piece is from the BETWEEN SPACE & PLACE thread: April Vannini, Those Between the Common * Laura Dean & Jesse McClelland, Ballard: A Portrait of Placemaking * Amara Hark Weber, Crossroad * Isaac Linder & Berit Soli-Holt, The Call of the Wild: Terro(i)r Modulations * Ashley D. Hairston, Momma taught us to keep a clean house * Sean Smith, The Garage (Take One) * * * * Instead of beginning with radical doubt, we start from naiveté. —Graham Harman, The Quadruple Object Deep in the forest a call was sounding, and as often as he heard this call, mysteriously thrilling and luring, he felt compelled to turn his back upon the fire and the beaten earth around it, and to plunge into the forest, and on and on, he knew not where or why; nor did he wonder where or why, the call sounding imperiously, deep in the forest. —Jack London, The Call of the Wild The figure of the feral remains a perpetual enigma, but the parameters remain relatively consistent. A person, usually a child, enters civilization after having been raised by wolves or kept in some kind of cruel captivity. The outsider perspective on domestication ensuing in an edge of a culture's self-recognition of its clumsier attributes, what has been taken for granted becomes apparent, is brought to the foreground with the stranger and made questionable. Amusement follows naïve questions or observations such as Kaspar Hauser in the Herzog film, The Enigma of Kaspar Hauser, when Kaspar notes that while in his room he is engulfed by it, but when he looks at the tower (with the room inside) he can turn away and it disappears. Ergo, the room is larger than the tower. How entertaining. The aberrant one destabilizes the comforting cultural normative. Places become seen as mere impressions out of space, a patterning, a rut that not everyone lives in like us. This is one figure of the feral. The naiveté that begs all the questions. As a figure for a certain philosophical disposition, the rapidity of ones saccade scans the environment, intuits its space, not from an initial thaumazein or a Critchlean sense of disappointment, but from a child-like naiveté bent on survival (itself other than the Socratic naiveté Nietzsche speaks of). To serve the naïve is merely one form of critique, and it is not nearly used enough in lieu of the critique that provides answers. How dull. It is not necessary to be an outsider to entrench a critique with naiveté. After having forced to suffer in the most parched and rocky terro(i)r, itself for so long rooted upwards of fifty feet into the ground upon which it grows, even a grapevine can spontaneously produce a white grape on a red vine. The curious feral can arise from within, and like pinot grigio, it adds variety without admonishing its roots. There is also the feral dog. Not raised by wolves, but humans. Founded in place the figure of this feral denies this place. The trajectory of this feral roves from the cultivated to uncultivated, or in speaking of plants from controlled to volunteer, finding the necessary nutrients and survival patterns on its own. Finding other places, reaching out into space testing its fertility. And when introduced into a foreign environment, it withers or flourishes. We would like to attempt a thesis at this juncture and to accept neither feral figure in its entirety, but to argue for the intimate conjunction between a cultivated place and its resonance with the space it procures for its nest and kin. I'm not a biter, I'm a writer for myself and others. —Jay-Z, What More Can I Say? I am writing for myself and strangers. This is the only way that I can do it. Everybody is a real one to me, everybody is like some one else too to me. No one of them that I know can want to know it and so I write for myself and strangers. —Gertrude Stein, The Making of Americans There is no subjective disposition outlining an unambiguous individual of the para-academy. There is no para-academic. We all have day jobs. 'Para-academic' seeped through the cracks as an adjective in the call to frame publishing dedicated to the critical rigor expected by academic publishing, but to deny the limitations of guarded legitimation through capital means. Open-access holds hands with this parasitic descriptor. Para-academic publishing's refusal to adhere to the valuation of locked access of a site, the siteof a desperate initiation to the empty form of value,” 1 seeks to recognize not merely an inclusive interpretation of significance, but the significance of thinking practice. The practice inside the paywalls of academic 'education' is held in a deathgrip by its infatuation with value and information, both empty without the apprehension of human experience, the barbaric yawp. “I can't breathe in here.” It is not that a para-academic practice leads one to the childish wonder of Kaspar Hauser who wonders about the spatiality of his room. It is the academic legitimation that distorts that one can hold the understanding of both in a constellation of place and space. Led to believe there is only a place for things, we are led to disillusionment. It is also not that a para-academic practice relinquishes itself to the invasive growth outside of careful cultivation, an abandonment of pleasantries for the toothy growl of a predator. It is the academy's fear that thought does not require capital to signify value. Some of the most nutritious meals can be foraged. Defining a para-academic practice is not outlining a place of accreditation of the practice, it is the recognition that any place is subject to modulation by the space it inhabits as well as creates. The para-academic practice keeps an eye of the creation of spaces, follows those paths that eat themselves in the name of academia. This is not unlike Red Peter's report to the academy, only successful if we report in idle idiosyncratic banalities that we have once again become victorious in our acculturation and nullification within the confines of accredited mush and our trajectory of wild rigor is defeated in our desire for recognition as recognizable in this place. Weeds are integral to the functioning of a large ecosystem. The manicured garden is entirely reliant on its keeper. The pansy can also go wild once neglected, the daisy definitely does. . . . a universe comes into being when a space is severed or taken apart. The skin of a living organism cuts off an outside from an inside. So does the circumference of a circle in a plane. By tracing the way we represent such a severance, we can begin to reconstruct, with an accuracy and coverage that appear almost uncanny, the basic forms underlying linguistic, mathematical, physical, and biological science, and can begin to see how the familiar laws of our own experience follow from the original act of severance. The act is itself already remembered, even if unconsciously, as our first attempt to distinguish different things in a world where, in the first place, the boundaries can be drawn anywhere we please. At this stage the universe cannot be distinguished from how we act upon it, and the world may seem like shifting sand beneath our feet. —George Spencer-Brown, Laws of Form Two edges are created: an obedient, conformist, plagiarizing edge (the language is to be copied in its canonical state, as it has been established by schooling, good usage, literature, culture), and another edge, mobile, blank (ready to assume any contours), which is never anything but the site of its effect: the place where the death of language is glimpsed. These two edges, the compromise they bring about, are necessary. —Roland Barthes, The Pleasure of the Text Between these two epigraphs, interminable questions of where and questions of happening, gesture, and interface. To stay buoyed between a site of visible (read: valued) happening and haptic perspicacity. Bounded by one or the other leads to a desiccation of potential knowledge. The tumbleweed tumbles until met with mud, a bare structure moving but not movement. A tumbleweed tumbleweeds, propagates only at a place. It becomes significant again, continues. Significance, the site where meaning is made known through kinesthetic apprehension. 2 The feral founds (as those feral twins Romulus and Remus found) a gestural horizon; an outsiders scrawl-becoming-law; Deleuze teaching Menos dog geometry. Place as marked, outlined, recognized, territorialized. The academies marked by their peculiar disciplines, outlined by their rigid boundaries, recognized as factories of value. This far from ensures complete purchase on the space of thought, but it has made an undeniably elaborate means of making work significant. The academy is a muddy spot, it is fertile, but its gates are high and its dogs are barking. The coordinates of concept and experience. Already claimed by a stabilizing suspension, the terms enter specificity ofthis is this’. Another correlation: activity and the individual. The individual, a placeholder in the crosshairs of juridical identification. Activity, what expands and surrounds this location, but utterly indebted to the node ofone who”. What's happening in this oscillation of nature and nurture is practice. Practice, as Stengers tells usis not the activity of an individual or the product of that activity. It is the ingredient without which neither that activity nor this product would exist as such.” 3 Moving outward from our own honing, we're curious about the ingredient creating the place for holding conceptual and experiential engagements in each hand. And we'd like to argue that this place is not a limiting specification, but a practice undulating daily, by the minute. And we call this practice the para-academic practice. I repeat: there was no attraction for me in imitating human beings; I imitated them because I needed a way out, and for no other reason. —Franz Kafka, A Report to an Academy In order to exist, man must rebel, but rebellion must respect the limit it discovers in itselfa limit where minds meet and, in meeting, begin to exist. —Albert Camus, The Rebel Anyone is a para-academic or practicer of such means. The academic can, and we argue should, be active para-academically, to escape the bounds, recognizing no site specific place as a place to rest on or the place to grab the Kafka's top and wonder at its disobedience not to continue. Yet, the para-academic practice must maintain the desire for rigor in scholarship. Indeed desiring past itself to claim a more naïve rigor, one that does not take its form for granted. Without a para-academic practice, the scholar spends half the time merely working on behalf of a hierarchy, to maintain it, and the other measly amounts of time are in the name of thinking, but only in name. Not to mention the amount of debt it takes to attend the halls of higher education. Not to mention the snoring tenures. Not to mention the barely scraping by adjuncts. Not to mention the materials that shake the very force of producible theory. Not to mention when swimming in texts becomes slogging through data. Academia is a barbaric food chain and it is our claim that there is, as always, an imperative for thought to move, with Heidegger, beyond the logics of calculation and planning, to a time (and so a space) of its own. The path, into the panic of the dark wood of this space can be followed by any; any who let the silence and the rigor enter the play. Where the little theater is larger when inhabited (Hausers perspective); where the data of the tutor asymptotically refutes; and where, as much as one wouldnt expect it here, ballet may turn out to be the most feral of formsNOTES Jean Baudrillard, “Value's Last TangoSimulacra and Simulation trans. Sheila Faria Glaser, (Ann Arbor: University of Michigan, 1994). “What is significance? It is meaning, insofar as it is sensually produced.” Roland Barthes in The Pleasure of the Text . Isabelle Stengers, “The Science WarsCosmopolitics I trans. Robert Bononno (Minneapolis: University of Minnesota, 2010), 47. (shrink)
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  18. John R. Shook & Richard T. Hull (eds.) (2005). The Dictionary of Modern American Philosophers. Thoemmes Continuum.score: 32.0
    v. 1. A-C -- v. 2. D-J -- v. 3. K-Q -- v. 4. R-Z.
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  19. Steven E. Boër (2003). Thought-Contents and the Formal Ontology of Sense. Journal of Philosophical Logic 32 (1):43-114.score: 29.0
    This paper articulates a formal theory of belief incorporating three key theses: (1) belief is a dyadic relation between an agent and a property; (2) this property (...)
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  20. Angelina Ilić Stepić & Zoran Ognjanović (forthcoming). Logics for Reasoning About Processes of Thinking with Information Coded by P-Adic Numbers. Studia Logica:1-30.score: 29.0
    In this paper we present two types of logics (denoted \({L^{D}_{Q_{p}}}\) and \({L^{\rm thinking}_{Z_{p}}}\) ) where certain p-adic functions are associated to (...) propositional formulas. Logics of the former type are p-adic valued probability logics. In each of these logics we use probability formulas K r,ρ α and D ρ α,β which enable us to make sentences of the formthe probability of α belongs to the p-adic ball with the center r and the radius ρ”, andthe p-adic distance between the probabilities of α and β is less than or equal to ρ”, respectively. Logics of the later type formalize processes of thinking where information are coded by p-adic numbers. We use the same operators as above, but in this formalism K r,ρ α meansthe p-adic code of the information α belongs to the p-adic ball with the center r and the radius ρ”, while D ρ α,β meansthe p-adic distance between codes of α and β are less than or equal to ρ”. The corresponding strongly complete axiom systems are presented and decidability of the satisfiability problem for each logic is proved. (shrink)
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  21. R. Z. D. (1973). The Problem of Evolution. Review of Metaphysics 27 (2):379-380.score: 29.0
  22. P. H. Gompertz, P. Irwin, R. Morris, D. Lowe MSc Cstat, Z. Rutledge, A. G. Rudd & M. G. Pearson (2001). Reliability and Validity of the Intercollegiate Stroke Audit Package. Journal of Evaluation in Clinical Practice 7 (1):1-11.score: 29.0
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  23. Francesco Armetta (ed.) (2010). Dizionario Enciclopedico Dei Pensatori E Dei Teologi di Sicilia, Secc. Xix E Xx. Salvatore Sciascia.score: 29.0
    v. 1. A-B -- v. 2. C -- v. 3. D-F --- v. 4. G-L -- v. 5. M-Q -- v. 6. R-Z.
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  24. A. C. Grayling, Andrew Pyle & Naomi Goulder (eds.) (2006). The Continuum Encyclopedia of British Philosophy. Thoemmes Continuum.score: 29.0
    v. 1. A-C -- v. 2. D-J -- v. 3. K-Q -- v. 4. R-Z.
     
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  25. J. R. Jones & D. Z. Phillips (1970). Belief and Loss of Belief: A Discussion. Sophia 9 (1):1-7.score: 29.0
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  26. D. Z. Milikovsky, R. Ben Yona, D. Akselrod, S. M. Glick & A. Jotkowitz (2013). Willingness to Treat Infectious Diseases: What Do Students Think? Journal of Medical Ethics 39 (1):22-26.score: 29.0
    Introduction Outbreaks of serious communicable infectious diseases remain a major global medical problem and force healthcare workers to make hard choices with limited information, resources and time. (...)
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  27. Pedro Mercado Pacheco (2012). Experimentalismo democrático, nuevas formas de regulación Y legitimación Del derecho. Anales de la Cátedra Francisco Suárez 46:37-68.score: 29.0
    E n e l a r tícul o s e aborda n lo s pro b lema s d e l e gitimació n qu e plantea (...)
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  28. Alfredo Ferrarin (1994). Husserl on the Ego and its Eidos (. Journal of the History of Philosophy 32 (4):645-659.score: 27.0
    Husserl on the Ego and its Eidos (Cartesian Meditations, IV) ALFREDO FERRARIN THE THEORY OF the intentionality of consciousness is essential for Husserl's philosophy, and in (...)particular for his mature theory of the ego. But it runs into serious difficulties when it has to account for consciousness's transcendental constitution of its own reflective experience and its relation to immanent time. This intricate knot, the inseparability of time and constitution, is most visibly displayed in Husserl's writings from the 192os up to the notion of the eidos ego in the fourth Cartesian Meditation. In this paper I want to dwell on the most problematic aspects of this theory. After a few preliminary remarks about the intentionality of consciousness (sec- tion 1), I try to place the theory of the substrate of habitualities in the context of Husserl's evolution on the issue of the reflection of the ego on itself (section ~). I briefly follow the threads of Husserl's shifting position from the Logical Investi- gat/ons and Ideas I to Ideas II, the Cartesian Meditations and the Cr/s/s. I indicate Husserl's works are quoted with the following abbreviations: CM = Cartesiani.~he Meditationen, Husserliana Bd. I, hrsg. v. S. Strasser (Den Haag, 195o); Carte- s/an M~, trans. D. Cairns (Dordrecht, 196o ) SW = Husserl, Shorter Works, ed. P. McCormick and F. Elliston (Notre Dame, 198a) IZ = Zur Phttnomenologie des inneren Zeilheun~tseim (z 893-z 917), Husserliana Bd. X, hrsg. v. R. Boehm (Den Haag, 1966 ) Ideen I = ldeen zu einer reinen Ph~nomenologie und ph~nomenologischen Philosophic, Husserliana Bd. III, hrsg. v. W. Biemel (Den Haag, t95o); Ideas I, trans. F. Kersten (The Hague, Boston, Lancaster, s983) ldeen// = ld., Hussefliana Bd. IV, hrsg. v. M. Biemel (Den Haag, 1952); Ideas I1, trans. R. Rojcewicz and A. Schuwer (Dordrecht, Boston, London, x 989) FTL = Forma/e und transzendenta~ Log/k, Husserliana Bd. XVII, hrsg. v. P. Janssen (Den Haag, t974) Kr/sh = Kr/s/s der europ~/schen W/ssen~haften, Husserliana Bd. VI, hrsg. v. W. Biemel (Den Haag, 1954) I wish to express my gratitude to Pierre Kerszberg and Alessandra Fussi for their helpful com- ments on an earlier draft of the paper, and to Graham Harman for checking the final version of my English text. [645] 646 JOURNAL OF THE HISTORY OF PHILOSOPHY 32:4 OCTOBER 1994 some historical antecedents, in particular Aristotle, of Husserl's theory of abid- ing properties which, as far as I can see, have not been pointed out before. Husserl's Entwicklungsgeschichte on the topic of the pure ego has already been the object of important scholarly works, of which Kern's 1964 Husserl und Kant seems to me the best example. But what the secondary literature does not do is develop thematically the ambiguities of Husserl's definitions of consciousness and temporality in a unitary and comprehensive way. While I follow the lead of Berger, Broekman, Kern, Marbach,' and others, I find that their work does not sufficiently stress the difficulties at the core ofintentionality and reflective time- consciousness. Therefore, although section 2 is a necessary presupposition for drawing some critical conclusions in the final two sections, it does not exhaust my theme. After clarifying the peculiarity of the notions of essence, intuition, tran- scendental and apriori, as well as their irl:educibility to a Kantian meaning, I turn to the "de facto transcendental ego" resulting from eidetic variation (section 3) in order to introduce an examination of temporality. The difficul- ties in the twofold requirement, namely, that consciousness be the identical subject of its Erlebnisse and be synthetically unified in time, concern the unity, primacy, and mutual relation of time and consciousness in the constitution of our experience. They have been heady pointed out by Ricoeur in his commen- tary on the Cartesian Meditations. But what I want to argue in section 4, going beyond Ricoeur's text, is that the tension between temporally constituted and constitutive consciousness in the ego's reflection on its own retentions and protensions does not simply make the question of time ambiguous, but has crucial and problematic bearings on the very definition of consciousness as intentionality. In this respect... -/- . (shrink)
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  29. R. Bernabei, P. Belli, F. Cappella, R. Cerulli, C. J. Dai, A. D'Angelo, H. L. He, A. Incicchitti, H. H. Kuang, X. H. Ma, F. Montecchia, F. Nozzoli, D. Prosperi, X. D. Sheng & Z. P. Ye (2010). Results From DAMA/LIBRA at Gran Sasso. Foundations of Physics 40 (7):900-916.score: 27.0
    The DAMA project is an observatory for rare processes and it is operative deep underground at the Gran Sasso National Laboratory of the I.N.F.N. In (...)
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  30. Ciprian Dariescu (1996). Planary Symmetric Static Worlds with Massless Scalar Sources. Foundations of Physics 26 (8):1069-1080.score: 27.0
    Motivated by the recent wave of investigations on plane domain wall spacetimes with nontrivial topologies, the present paper deals with (probably) the most simple source field configuration (...)
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  31. Wolfgang Drechsler (1999). Mass Generation by Weyl Symmetry Breaking. Foundations of Physics 29 (9):1327-1369.score: 27.0
    A massless electroweak theory for leptons is formulated in a Weyl space, W4, yielding a Weyl invariant dynamics of a scalar field φ, chiral Dirac fermion fields (...)
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  32. Martin Cohen (2005). Wittgenstein's Beetle and Other Classic Thought Experiments. Blackwell Pub..score: 27.0
    A is for Alice and astronomers arguing about acceleration -- B is for Bernard's body-exchange machine -- C is for the Catholic cannibal -- D is for Maxwell (...)'s demon -- E is for evolution (and an embarrassing problem with it) -- F is for the forms lost forever to the prisoners of the cave -- G is for Galileo's gravitational balls -- H is for Hume's shades -- I is for the identity of indiscernibles -- J is for Henri Poincaré and alternative geometries -- K is for the Kritik and Kant's kind of thought experiments -- L is for Lucretius' spear -- M is for Mach's motionless chain -- N is for Newton's bucket -- O is for Olbers' paradox -- P is for Parfit's person -- Q is for the questions raised by thought experiments quotidiennes -- R is for the rule-ruled room -- S is for Salvatius' ship, sailing along its own space-time line -- T is for the time-travelling twins -- U is for the universe, and Einstein's attempts to understand it -- V is for the vexed case of the violinist -- W is for Wittgenstein's beetle -- X is for xenophanes and thinking by examples -- Y is for counterfactuals and a backwards approach to history -- Z is for Zeno and the mysteries of infinity. (shrink)
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  33. W. Jianping, L. Li, D. Xue, Z. Tang, X. Jia, R. Wu, Y. Xi, T. Wang & P. Zhou (2010). Analysis of the Status of Informed Consent in Medical Research Involving Human Subjects in Public Hospitals in Shanghai. Journal of Medical Ethics 36 (7):415-419.score: 27.0
    Objectives The objectives of the study are to understand the current practice of informed consent in medical research in public hospitals in Shanghai, and to share our (...)
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  34. Steven T. Katz (ed.) (1980). Saadiah Gaon. Arno Press.score: 27.0
    Rau, D. Die Ethik R. Saadjas.--Neumark, D. Saadya's philosophy.--<span class='Hi'>Vajdaspan>, G. Saadia Gaon et l'amour courtois.--Diesendruck, Z. Saadya's formulation of the (...)span>, G. Saʻadyā commentateur du "Livre of la création."--<span class='Hi'>Vajdaspan>, G. Études sur Saadia.--Harkavy, A. Fragments of anti-Karaite writings of Saadiah in the Imperial Public Library at St. Petersburg.--Eisler, M. Vorlesungen über die jüdischen Philosophen des Mittelalters. (shrink)
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  35. Robert C. Roberts (1994). Review: The Philosopher as Sage: A Review Essay. [REVIEW] Journal of Religious Ethics 22 (2):407 - 431.score: 27.0
    Recent books by Paul Johnston, D. Z. Phillips, Philip Shields, and B. R. Tilghman all depict Wittgenstein as centrally concerned with ethics, but they range from representing (...)
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  36. R. Bernabei, P. Belli, F. Cappella, R. Cerulli, C. J. Dai, A. D'Angelo, H. L. He, A. Incicchitti, H. H. Kuang, X. H. Ma, F. Montecchia, F. Nozzoli, D. Prosperi, X. D. Sheng & Z. P. Ye (2010). Non-Paulian Nuclear Processes in Highly Radiopure NaI(Tl): Status and Perspectives. [REVIEW] Foundations of Physics 40 (7):807-813.score: 27.0
    Searches for non-paulian nuclear processes, i.e. processes normally forbidden by the PauliExclusionPrinciple (PEP) with highly radiopure NaI(Tl) scintillators allow the test of this fundamental (...) principle with high sensitivity. Status and perspectives are addressed. (shrink)
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  37. R. D. Pentz, R. D. Harvey, M. White, Z. L. Farmer, O. Dashevskaya, Z. Chen, C. Lewis, T. K. Owonikoko & F. R. Khuri (2011). Research Biopsies in Phase I Studies: Views and Perspectives of Participants and Investigators. Irb 34 (2):1-8.score: 27.0
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  38. Zdravko Radman (ed.) (2012). Knowing Without Thinking: Mind, Action, Cognition and the Phenomenon of the Background. Palgrave Macmillan.score: 27.0
    Machine generated contents note: -- Preface -- Acknowledgements -- Notes on Contributors -- Introduction; Z.Radman -- The Mystery of the Background qua Background; H.L.Dreyfus -- PART I: ECHOING SEARLE' (...)S AND DREYFUS' VIEWS ON THE BACKGROUND -- Ground-Level Intelligence:Action-Oriented Representation and the Dynamics of the Background; M.Cappuccio& M.Wheeler -- Exposing the Background: Deep and Local; D.D.Hutto -- The Background as Intentional, Conscious, and Nonconceptual; M.Schmitz -- Social Cognition, the Chinese Room, and the Robot Replies; S.Gallagher -- Contesting John's Searle' Social Ontology: Institutions and Background; J.Margolis -- Music and the Background; D.Schmicking -- PART II: EXTENDED VIEWS ON THE BACKGROUND -- Implicit Precision; E.T.Gendlin -- Enkinaesthesia: The Essential Sensuous Background for Co-Agency; S.A.J.Stuart -- Steps Entailed in Foregrounding the Background: Taking the Challenge of Languaging Experience Seriously; M.Sheets-Johnstone -- The Body as Background: Pragmatism and Somasthetics; R.Shusterman -- The Background: A Tool of Potentiality; Z.Radman -- Embodied Technology as Implicit Knowledge of Modern Civilization; K.Mainzer -- Index. (shrink)
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  39. Edward Henderson (1982). A Critique of Religious Reductionism. Philosophy Research Archives 8:429-456.score: 27.0
    Accounts of theistic faith according to which it does not involve referring to or believing in God as existing independently of the life of faith are instances (...)
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  40. Bruce I. Rose (1978). Rings Which Admit Elimination of Quantifiers. Journal of Symbolic Logic 43 (1):92-112.score: 27.0
    We say that a ring admits elimination of quantifiers, if in the language of rings, {0, 1, +, ·}, the complete theory of R admits elimination of quantifiers. (...)Theorem 1. Let D be a division ring. Then D admits elimination of quantifiers if and only if D is an algebraically closed or finite field. A ring is prime if it satisfies the sentence: ∀ xyz (x = 0y = 0xzy0). Theorem 2. If R is a prime ring with an infinite center and R admits elimination of quantifiers, then R is an algebraically closed field. Let A be the class of finite fields. Let B be the class of 2 × 2 matrix rings over a field with a prime number of elements. Let C be the class of rings of the form $GF(p^n) \bigoplus GF(p^k)$ such that either n = k or g.c.d. (n, k) = 1. Let D be the set of ordered pairs (f, Q) where Q is a finite set of primes and f: QABC such that the characteristic of the ring f(q) is q. Finally, let E be the class of rings of the form $\bigoplus_{q \in Q}f(q)$ for some (f, Q) in D. Theorem 3. Let R be a finite ring without nonzero trivial ideals. Then R admits elimination of quantifiers if and only if R belongs to E. Theorem 4. Let R be a ring with the descending chain condition of left ideals and without nonzero trivial ideals. Then R admits elimination of quantifiers if and only if R is an algebraically closed field or R belongs to E. In contrast to Theorems 2 and 4, we have Theorem 5. If R is an atomless p-ring, then R is finite, commutative, has no nonzero trivial ideals and admits elimination of quantifiers, but is not prime and does not have the descending chain condition. We also generalize Theorems 1, 2 and 4 to alternative rings. (shrink)
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  41. P. Zhou, D. Xue, T. Wang, Z. L. Tang, S. K. Zhang, J. P. Wang, P. P. Mao, Y. Q. Xi, R. Wu & R. Shi (2009). Survey on the Function, Structure and Operation of Hospital Ethics Committees in Shanghai. Journal of Medical Ethics 35 (8):512-516.score: 27.0
    Objective: The objectives of this study are to understand the current functions, structure and operation of hospital ethics committees (HECs) in Shanghai and to facilitate their improvement. (...)
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  42. D. Z. Phillips & A. R. Manser (1979). Alienation and the Sociologizing of Meaning. Aristotelian Society Supplementary Volume 53:95 - 133.score: 27.0
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  43. Stanley Cavell, J. Conant, C. Diamond, I. Dilman, P. M. S. Hacker, B. F. McGuinness, A. Palmer, D. Z. Phillips, R. Rhees & J. Schulte (2001). On Wittgenstein. Philosophical Investigations 24 (2):89-184.score: 27.0
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  44. R. S. Downie, Ilham Dilman & D. Z. Phillips (1972). Sense and Delusion. Philosophical Quarterly 22 (87):184.score: 27.0
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  45. W. Kintsch, P. Boyer, M. Bucciarelli, B. R. Buchsbaum, M. W. Burton, Y. D. Cheng, M. T. H. Chi, T. Clermont, L. Z. Daily & N. Dounskaia (2001). Johnson, PE, 355 Johnson, TR, 903 Johnson-Laird, PN, 565 Kemeny, V., 733. Cognitive Science 25:979-980.score: 27.0
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  46. Pedro Mercado Pacheco (2012). Democracia, participación Y representación: Presentación. Anales de la Cátedra Francisco Suárez 46:7-10.score: 27.0
    Cuand o l a edició n d e est e númer o d e lo s Anale s d e l a Cáted r a F r (...)
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  47. E. Papastavrou, G. Efstathiou, H. Tsangari, R. Suhonen, H. Leino-Kilpi, E. Patiraki, C. Karlou, Z. Balogh, A. Palese, M. Tomietto, D. Jarosova & A. Merkouris (2012). Patients' and Nurses' Perceptions of Respect and Human Presence Through Caring Behaviours: A Comparative Study. Nursing Ethics 19 (3):369-379.score: 27.0
    Although respect and human presence are frequently reported in nursing literature, these are poorly defined within a nursing context. The aim of this study was to examine (...)
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  48. Matthew W. Parker (2003). Three Concepts of Decidability for General Subsets of Uncountable Spaces. Theoretical Computer Science 351 (1):2-13.score: 27.0
    There is no uniquely standard concept of an effectively decidable set of real numbers or real n-tuples. Here we consider three notions: decidability up to measure (...)zero [M.W. Parker, Undecidability in Rn: Riddled basins, the KAM tori, and the stability of the solar system, Phil. Sci. 70(2) (2003) 359382], which we abbreviate d.m.z.; recursive approximability [or r.a.; K.-I. Ko, Complexity Theory of Real Functions, Birkhäuser, Boston, 1991]; and decidability ignoring boundaries [d.i.b.; W.C. Myrvold, The decision problem for entanglement, in: R.S. Cohen et al. (Eds.), Potentiality, Entanglement, and Passion-at-a-Distance: Quantum Mechanical Studies fo Abner Shimony, Vol. 2, Kluwer Academic Publishers, Great Britain, 1997, pp. 177190]. Unlike some others in the literature, these notions apply not only to certain nice sets, but to general sets in Rn and other appropriate spaces. We consider some motivations for these concepts and the logical relations between them. It has been argued that d.m.z. is especially appropriate for physical applications, and on Rn with the standard measure, it is strictly stronger than r.a. [M.W. Parker, Undecidability in Rn: Riddled basins, the KAM tori, and the stability of the solar system, Phil. Sci. 70(2) (2003) 359382]. Here we show that this is the only implication that holds among our three decidabilities in that setting. Under arbitrary measures, even this implication fails. Yet for intervals of non-zero length, and more generally, convex sets of non-zero measure, the three concepts are equivalent. (shrink)
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  49. John Sallis (ed.) (1970). Heidegger and the Path of Thinking. Pittsburgh,Duquesne University Press.score: 27.0
    A letter from Martin Heidegger.--On the way to being; reflecting on conversations with Martin Heidegger, by Z. Adamczewski.--Heidegger's view and evaluation of nature and natural (...)
     
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  50. Brett W. Schultz (2011). Gonzo Strategies of Deceit: An Interview with Joaquin Segura. Continent 1 (2):117-124.score: 27.0
    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 artists working strategies for a general public. Joaquin Segura is at once an anomaly in Mexicos 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 Calderons 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 recurringif not dominanttheme 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 morainetaken 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 Mexicoto be more exact, pretty much all of Latin Americaas 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 wrongthe 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 its 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 subtleor even hiddensinisterness, 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 obliteratedeven 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 positionneither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as thats 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 mediadue both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but powerso 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 seriesas photo-realistic paintingis 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 insecurityon 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 battlegroundbecause after all, this is low-intensity warif 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 entirelyessentially 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 Seguras website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)
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