In the literature on social ontology, two perspectives on collective agency have been developed. The first is the internal perspective, the second the external one. The internal perspective takes the point of view of the members as its point of departure and appeals, inter alia, to the joint intentions they form. The idea is that collective agents perform joint actions such as dancing the tango, organizing prayer meetings, or performing symphonies. Such actions are generated by joint intentions, a topic which (...) has been investigated extensively in recent decades.1 The external perspective takes the point of view of outsiders as its point of departure. Here the idea is that outsiders ascribe certain properties to collections of individuals that thereby acquire a new status. An example that is discussed in some detail below is provided by universities that, at least initially, had to be recognized by the pope in order to perform the actions that are characteristic of universities, in particular the awarding of academic degrees. This perspective has received considerably less attention.2 In this paper I present and defend a new account of collective agents from the external perspective. I call it ‘the status account’. At the heart of this account lies the idea just mentioned. A collective agent can come into existence by outsiders granting a collection of individuals some kind of status. I call a collective agent for which this holds a ‘corporate agent’, because such an agent is or has been, in a sense to be explained, incorporated. I develop this idea by distinguishing between two kinds of rules: status rules and constitutive rules. Status rules explicate the normative attributes that are characteristic of a particular kind of corporate agent. Constitutive rules specify the conditions that have to be met for a certain collection of individuals to have those attributes. The status account shares some important features with John Searle’s social ontology.3 The advantages that my account has over Searle’s are discussed in section 2.2, immediately after the account has been introduced in section 2.1. Before doing that, however, I shall discuss the internal perspective.. (shrink)

Avatar, le film de James Cameron (2009), aura ete un succes commercial d'une ampleur exceptionnelle, a considerer davantage comme le symptome d'une certaine societe en crise spirituelle, que comme l'expression personnelle d'un createur, fut-il exceptionnel. Sur cette base, Frank Pierobon, au terme d'une deconstruction tres poussee, en extrait l'embleme de notre postmodernite finissante: un Deus ex Fantasma, soit une derisoire redemption par le reve, faute de tout autre salut.

This article addresses the extent and ways in which gender inequality in the newspaper coverage of arts and culture has changed in France, Germany, the Netherlands, and the United States, 1955-2005. Through a quantitative content analysis, we mapped all articles that appeared in two elite newspapers in each country in four sample years 1955, 1975, 1995, and 2005. First, despite increasing women’s employment in arts and culture and a quantitative feminization of journalism, elite newspaper coverage of women in arts and (...) culture has hardly changed, making up about 20-25 percent consistently over the last 50 years. Second, our results show surprisingly few cross-national differences in the amount of the newspaper coverage devoted to women in arts and culture. Third, although women are underrepresented in the coverage of all artistic genres, there is some evidence of horizontal sex segregation—particularly in architecture and modern dance and fashion —as well as vertical sex segregation—in that attention to women has increased in “highbrow” genres that have declined in status. Finally, as the status of an actor type increases from laymen to artistic directors, the proportion of women decreases in newspaper attention to arts and culture. (shrink)

This chapter shows that there is a notion of representation in which truth and representation go together while representation openly and proudly parades the roots it has in aesthetic representation. The main uses of representation are linguistic representation, political representation, and aesthetic representation. Truth has been used for political representation – when a political collectivity engages its political will. Representation becomes a mere spin‐off of the notion of truth adapting itself to anything the philosopher of language has to say about (...) truth. Toward the end of his Connections to the World, Danto characterizes the human being as an ens representans, suggesting that the capacity of representation is our essence, as human beings. Historical reality only comes into being ex post facto when the past no longer exists. Historical writing is the science of the ex post facto. (shrink)

Inductive inference considers two types of queries: Queries to a teacher about the function to be learned and queries to a non-recursive oracle. This paper combines these two types — it considers three basic models of queries to a teacher (QEX[Succ], QEX[ The results for each of these three models of query-inference are the same: If an oracle is omniscient for query-inference then it is already omniscient for EX. There is an oracle of trivial EX-degree, which allows nontrivial query-inference. Furthermore, (...) queries to a teacher cannot overcome differences between oracles and the query-inference degrees are a proper refinement of the EX-degrees. In the case of finite learning, the query-inference degrees coincide with the Turing degrees. Furthermore oracles can not close the gap between the different types of queries to a teacher. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 531 topic which makes these weaknesses stand out. They detract from the beauty of the work as a whole. Nonetheless, the work is an opus magnum meriting serious scholarly attention and applause. PETER A. REDPATH St. Johns' University Staten Island, New York Scepticism and Reasonable Doubt: The British Naturalist Tradition in Wilkins, Hume, Reid, and Newman. By M. JAMIE FERREIRA. Oxford : Clarendon Press, 1986. Pp. xii+ (...) 255. Professor M. Jamie Ferreira has written a major contribution to our knowledge and understanding of scepticism within British intellectual life from the late seventeenth century to the late nineteenth. Her cast of characters is at first sight an unusual, even an eclectic one: John Wilkins, an Anglican bishop and founder of the Royal Society; David Hume, himself often regarded as the chief of sceptics; Thomas Reid, the Scottish philosopher of common sense; and John Henry Newman, the most famous Viotorian convert to Roman Catholicism. In Ferreira's analysis what holds this group together is their varied attempts to re· fute scepticism through an appeal " to ' the natural '-to how we are constituted, to what we, as human beings, are and do in the arena of believing " (p. vii). In other words, the refutation of intellectually derived scepticism lies in an examination of practically lived human ex· perience. Ferreira seeks to describe three distinct modes of naturalism. The first is sceptical naturalism such as found in the clearly sceptical pass· ages of Hume. The other forms of naturalism constitute replies to this sceptical position. These anti-sceptical positions are reasonable doubt scepticism and justifying naturalism. Advocates of the former contend there is no reasonable basis for doubt about fundamental beliefs of human nature. They contend that these fundamental lieliefs are more basic than other beliefs rthart are subject to justification. They are indeed the basis of our juslf:ification of other matters. For persons of ithis outlook, rationality and justification are mallters of practice. By contrast justifying naturalism does seek to provide some kind of justification that links what is natural with what can be justified. In effect, justifying naturalism rejects the argument that only one mode of justification can be regarded as legitimate. Reasonable doubt naturalism and justifying naturalism often closely approach each other, but the latter may reject scepticism on grounds other than those of practice. 53~ BOOK REVIEWS Fundamental to Ferreira's argument is her interpretation of the position of John Locke in the anti-sceptical tradition. In contrast to Henry Van Leeuwen, she asserts that rather than standing as the culmination of an earlier liberal Anglican tradition associated with John Wilkins, Locke actually departed from that anti-sceptical position which had based itself largely on the concept of moral certainty. Locke based his rejection of scepticism on a distinction between kinds of certainty rather than upon human nature itself. Whereas Wilkins and others had seen a close and sometimes identical relationship between the highest probability and certainty, Locke distinguished,the two. For him, cel'tainty had to achieve more than probability. Locke distinguished kinds of evidence from degrees of evidence. He also proposed categories of probability and demonstrated certainty hut no category of proof. This issue is crucial for Ferreira's interpretation of Hume. She contends that Hume understood this distinction in Locke and that he looked to the earlier anti-sceptical tradition. She argues that Hume thought it possible to offer a response to his own sceptical position that actually went beyond simply unavoidably accepting certain beliefs. Hume introduced a category of proof between Locke's categories of certainty and probability. According to Ferreira, he based this category on the previous seventeenth-century distinction between reasonable and unreasonable doubt. Ferreira does not claim a single unified interpretation of Hume, but urges the presence of tension in his thought that allows for the presence at least some of the time of a naturalist approach to scepticism. Thomas Reid was regarded in his day and during most of the nineteenth century as the major critic of Hume. However, Ferreira examines that critique largely in terms of shared concerns. Reid sought to distinguish degrees of certainty in both demonstrative and probabilistic reasoning. His key metaphor was found in the suggestion... (shrink)

How can different religions be compared? Which religions are true? To raise such questions univocally of all religions there first needs to be some objective grounds of comparison. Neville's book develops and empirically tests a speculative hypothesis that provides these grounds. This hypothesis has two parts--the ontological and cosmological. Neville maps out these parts along with his primary concept of divinity explicated in terms of creation ex nihilo. He then uses his hypothesis to compare the multiple-layered concept of divinity--masks of (...) God--found in various religions, especially the Christian and Chinese. (shrink)

The argument presented in this paper is not a direct attack or defence of the Chinese Room Argument (CRA), but relates to the premise at its heart, that syntax is not sufficient for semantics, via the closely associated propositions that semantics is not intrinsic to syntax and that syntax is not intrinsic to physics. However, in contrast to the CRA’s critique of the link between syntax and semantics, this paper will explore the associated link between syntax and physics. The main (...) argument presented here is not significantly original – it is a simple reflection upon that originally given by Hilary Putnam (Putnam 1988) and criticised by David Chalmers and others: instead of seeking to justify Putnam’s claim that, “every open system implements every Finite State Automaton (FSA)”, and hence that psychological states of the brain cannot be functional states of a computer, I will seek to establish the weaker result that, over a finite time window every open system implements the trace of a particular FSA Q, as it executes program (p) on input (x). That this result leads to panpsychism is clear as, equating Q (p, x) to a specific Strong AI program that is claimed to instantiate phenomenal states as it executes, and following Putnam’s procedure, identical computational (and ex hypothesi phenomenal) states (ubiquitous little ‘pixies’) can be found in every open physical system. (shrink)

One, Mad Hornpipe: Dance as a Tool of Subversion in Brian Friel's Molly Sweeney The plot of Brian Friel's Molly Sweeney oscillates around the theme of perception, blindness and eye-sight recovery. Although visually impaired, the eponymous character is a self-reliant and independent person who is very active, both professionally and socially. What serves as the source of tragedy in the play is the male desire to compensate for Molly's physical disability perceived as a sign of deficiency and oddity that needs (...) to be normalized. Prompted by her husband, Molly decides to undergo a surgery which gives her a chance to regain sight and, thus, become a part of the world of the visually abled. Yet, subsequent to the operation, Molly cannot adapt herself to the new reality and develops a medical condition called blindsight, which leads to her final alienation and confusion.Focusing predominantly on the main character of the play, this paper examines the ways in which Molly Sweeney experiences the surrounding world and seeks satisfaction and self-fulfilment through physical activities, such as swimming or dancing, which she vividly describes in her monologues. It explores the double nature of Molly who, despite her self-sufficiency, capacity for rebellion and a sense of autonomy, seems prone to male manipulation exercised at first by her father, later by her husband Frank and doctor Rice. Her expression of independence becomes particularly conspicuous in the scene of a party organized the night before her surgery when she performs a wild and frantic hornpipe, which serves as a form of momentary upheaval and a visualization of the outburst of extreme emotions. Although the dance is not presented onstage, it has a crucial function in the play, for it serves as its powerful climax, after which Molly experiences gradual deterioration.Interpreted in the context of the history of Irish dance, the mad hornpipe appears replete with meanings and allusions. Traditionally associated with human sexuality and the female element, dance was often treated by the Irish clergy with a great deal of distrust as a source of evil and moral corruption. Consequently, like in the case of the frenzied reel in another famous Frielian play, Dancing at Lughnasa, the limitless and unrestricted performance in the climactic scene of Molly Sweeney may be seen as a tool of subversion and female opposition to the Irish patriarchal order. It is a unique moment in which the protagonist seizes male power and gains full, though very temporary, control over her life. (shrink)

The plot of Brian Friel's Molly Sweeney oscillates around the theme of perception, blindness and eye-sight recovery. Although visually impaired, the eponymous character is a self-reliant and independent person who is very active, both professionally and socially. What serves as the source of tragedy in the play is the male desire to compensate for Molly's physical disability perceived as a sign of deficiency and oddity that needs to be normalized. Prompted by her husband, Molly decides to undergo a surgery which (...) gives her a chance to regain sight and, thus, become a part of the world of the visually abled. Yet, subsequent to the operation, Molly cannot adapt herself to the new reality and develops a medical condition called blindsight, which leads to her final alienation and confusion. Focusing predominantly on the main character of the play, this paper examines the ways in which Molly Sweeney experiences the surrounding world and seeks satisfaction and self-fulfilment through physical activities, such as swimming or dancing, which she vividly describes in her monologues. It explores the double nature of Molly who, despite her self-sufficiency, capacity for rebellion and a sense of autonomy, seems prone to male manipulation exercised at first by her father, later by her husband Frank and doctor Rice. Her expression of independence becomes particularly conspicuous in the scene of a party organized the night before her surgery when she performs a wild and frantic hornpipe, which serves as a form of momentary upheaval and a visualization of the outburst of extreme emotions. Although the dance is not presented onstage, it has a crucial function in the play, for it serves as its powerful climax, after which Molly experiences gradual deterioration. Interpreted in the context of the history of Irish dance, the mad hornpipe appears replete with meanings and allusions. Traditionally associated with human sexuality and the female element, dance was often treated by the Irish clergy with a great deal of distrust as a source of evil and moral corruption. Consequently, like in the case of the frenzied reel in another famous Frielian play, Dancing at Lughnasa, the limitless and unrestricted performance in the climactic scene of Molly Sweeney may be seen as a tool of subversion and female opposition to the Irish patriarchal order. It is a unique moment in which the protagonist seizes male power and gains full, though very temporary, control over her life. (shrink)

Definition of the problem The umbrella term “explicability” refers to the reduction of opacity of artificial intelligence (AI) systems. These efforts are challenging for medical AI applications because higher accuracy often comes at the cost of increased opacity. This entails ethical tensions because physicians and patients desire to trace how results are produced without compromising the performance of AI systems. The centrality of explicability within the informed consent process for medical AI systems compels an ethical reflection on the trade-offs. Which (...) levels of explicability are needed to obtain informed consent when utilizing medical AI? Arguments We proceed in five steps: First, we map the terms commonly associated with explicability as described in the ethics and computer science literature, i.e., disclosure, intelligibility, interpretability, and explainability. Second, we conduct a conceptual analysis of the ethical requirements for explicability when it comes to informed consent. Third, we distinguish hurdles for explicability in terms of epistemic and explanatory opacity. Fourth, this then allows to conclude the level of explicability physicians must reach and what patients can expect. In a final step, we show how the identified levels of explicability can technically be met from the perspective of computer science. Throughout our work, we take diagnostic AI systems in radiology as an example. Conclusion We determined four levels of explicability that need to be distinguished for ethically defensible informed consent processes and showed how developers of medical AI can technically meet these requirements. (shrink)

Recent years have witnessed intensive efforts to specify which requirements ethical artificial intelligence (AI) must meet. General guidelines for ethical AI consider a varying number of principles important. A frequent novel element in these guidelines, that we have bundled together under the term explicability, aims to reduce the black-box character of machine learning algorithms. The centrality of this element invites reflection on the conceptual relation between explicability and the four bioethical principles. This is important because the application of general ethical (...) frameworks to clinical decision-making entails conceptual questions: Is explicability a free-standing principle? Is it already covered by the well-established four bioethical principles? Or is it an independent value that needs to be recognized as such in medical practice? We discuss these questions in a conceptual-ethical analysis, which builds upon the findings of an empirical document analysis. On the example of the medical specialty of radiology, we analyze the position of radiological associations on the ethical use of medical AI. We address three questions: Are there references to explicability or a similar concept? What are the reasons for such inclusion? Which ethical concepts are referred to? (shrink)

continent. 2.1 (2012): 22–28. Jeroen Mettes burst onto the Dutch poetry scene twice. First, in 2005, when he became a strong presence on the nascent Dutch poetry blogosphere overnight as he embarked on his critical project Dichtersalfabet (Poet’s Alphabet). And again in 2011, when to great critical acclaim (and some bafflement) his complete writings were published – almost five years after his far too early death. 2005 was the year in which Dutch poetry blogging exploded. That year saw the foundation (...) of the influential, polemical, and populistically inclined weblog De Contrabas (The Double Bass), which became a strong force for internet poetry in Dutch in the years to follow. In the summer of that year, a lively debate raged in the aftermath of Bas Belleman’s article “ Doet poëzie er nu eindelijk toe ?” (“Does poetry finally matter now?”), on a blog specifically devoted to this question. Up to that point, the poetical debate in the Netherlands had largely been confined to literary reviews (which were often subsidized), having become mostly marginalized in more mainstream media, where poetry could be covered by only a small number of so-called authorities. As a result, literary debate had acquired a rather placid quality. Though a variety of camps with different aesthetics could be discerned, most poetical positions shared a general acceptance of poetry as a form of art somewhat apart from fundamental political concerns. Late modernists would pursue subtlety and density of reference. Others would insist poetry was best understood as a form of entertainment that should ideally be accessible and work well on the stage. Still others would insist that poetry is mostly a play with forms. Linguistically disruptive strategies were valued highly by some, but mostly for their aesthetic effect. Values of disinterested playfulness reigned supreme everywhere. Any idea that poetry could be a field in which one confronts politics and the world was decidedly marginal. This led to a climate in which most attempts at polemics were DOA, often based on far too superficial positioning and analysis. The greatest polemical debates were revolving around the question of whether poetry should be difficult or easy, with both camps defining their ideas of difficulty and accessibility in ways that were so utterly shallow as to make the entire point moot. Debates were performed, rather than engaged with. It was a postmodern hell of underarticulated poetics. Half-consciously, people were yearning for new forms of criticism that could put the oomph back into poetry. Weblogs provided for ways to explore debate directly outside of the clotted older channels of the reviews and the newspapers. Belleman’s essay and the resulting online activity had shown that there was a widespread eagerness to take poetry more seriously as a social art form. It was in this environment that Mettes started his remarkable project Dichtersalfabet . At that moment, Mettes was active mostly in academic circles, having become noted at Leiden University as a particularly gifted student of literary theory. Within the Netherlands, the field of literary theory has a very odd relationship to literature as it is practiced in the country. Academic theory tends to have a mostly international view and engage with international debates of cultural criticism, literary theory, and philosophy, with academics often publishing in English and attending conferences around the world. Literature itself however is much more concerned with domestic traditions. Consequently, in the Netherlands, there exists a language gap between academic theoretical practice (as it is studied in the literary theory departments) and literary practice (which, academically, gets studied in specialized departments of Dutch literature). The Dichtersalfabet can be seen as Mettes’s attempt to close this gap. It is also an attempt to bridge the divide between theory and practice, in which he could apply his theoretical knowledge in a very unorthodox and unacademic critical mode that moreover could reach far beyond the domain of conventional criticism. Mettes’s goal was to trace a diagonal through Dutch poetic culture, to “strangle” what he perceived to be its dominant oppressive traditions of agreeable irrelevance, in order to see whatever might be able to survive his critical assaults. But he could only do so by means of a very serious engagement with poetry itself. To this end, he would go systematically through the poetry bookshelf of the Verwijs bookshop (part of a mainstream chain of booksellers) in The Hague, buying one publication per blog item, starting from A and working his way through the alphabet, reading whatever he might encounter that way in the restaurant of the HEMA store (another big commercial chain in the country). He would subsequently write down his reading experiences, refraining however from trying to write a nuanced book review. Rather, he would write about anything that caught his attention and sparked his critical interest. This way of working would yield vast, at times somewhat rambling, dense, lively, and generally brilliant essays, in which he held no punches. He never hesitated to pull out his entire arsenal of concepts from the international theory traditions, while never degenerating into mere academic exercise and pointless intertextualities. The attempt was rather to live the poetry that he read, and to engage it with the full range of political, academic, cultural, and personal references that he had at his disposal—all that composed the individual named Jeroen Mettes as a reader. Often what he wrote would not be according to the standards of what we usually think of as a critical review of a book of poetry. Sometimes he would even be a little sloppy in his judgments of poets or representations of the books he read, for example by basing an entire essay on the blurb of a book rather than its poetry content. But what he did was always brilliant writing nonetheless—virtuoso riffs on poetic fragments randomly found within capitalist society, exposing an incisive and insistent poetical sensibility. Mettes read poetry for political reasons, to see whether poetry could offer him a way to deal with a political world he detested. The right-wing horrors of the Bush years, the Iraq war, and the turn of Dutch public opinion towards ever more conservative, narrow-minded, and xenophobic views alongside a complete failure of the political left to present any credible alternative, were weighing heavily on the times in which Mettes reported on his reading. Poetry was to measure this world, diagram it, to lay bare its inconsistencies and faults, to indicate where lines of flight might be found. Amid the ruins of a world wrecked by imperialist policies, corporate capitalism, and doctrinal neoliberalism it would have to show the possibility of a new community. And it was, through its rhythmical workings, to release the reading subject from his confinement to ideologically conditioned individuality and lead him into the immanent paradise of reading. The stakes were high. Much higher than anything Dutch poetry had seen for many years. Mettes’s blog was widely read from the start. His posts sparked lively debates. Some of these subsequently led to the publication of extensive essays on a few key poets in some literary journals, particularly Parmentier and the Flemish journal yang , for which Mettes would become a member of the editorial board, a few months after starting the Dichtersalfabet . This could have been the start of a brilliant career, but this was not to be. The initial manic energy that fueled the blog gradually subsided. The Alfabet was updated less and less regularly. Mettes sometimes just disappeared for many weeks, then suddenly returning with a brilliant essay. Until, on September 21, 2006, he posted his final blogpost, consisting of no text whatsoever. That night I learned from his mentor at Leiden University that he had committed suicide. Mettes and I had had some fruitful exchanges on poetry, rhythm, music, and form, mostly on the blogs, but also by email. Three weeks before his death was the last time I heard from him: a very sudden, uncharacteristically curt note saying “My old new sentence epic.” Attached to that message I found a DOC-file of a work so major that I felt intimidated. This was N30 , a text he had been working on for over five years. After his death, it took me a long time before I dared to read it in its entirety. In the meantime, the work of preparing the manuscript for publication was entrusted by his relatives to his colleagues at yang magazine. It took them a few years to brush up the text and to edit the Dichtersalfabet -blog (which, apart from the Alphabet project itself, incorporated many other fragments of political, polemical, and theoretical writing) into book form along with the essays. The result of this labor was finally published in 2011 as a two-book set, and Mettes burst onto the Dutch poetry scene for the second time. The work was widely reviewed, on blogs, in journals, magazines, and newspapers. Many critics who had not followed the blogs in 2005 showed themselves surprised, baffled even, by the intensity of Mettes’s critical writing. But for those who had read the blog, the main surprise was in the poetry. During Mettes’s lifetime, some of his poems had already been published in Parmentier . Although these were strong texts by themselves, in no way did they prepare readers for N30 . Nothing like it had been written in Dutch before. Instead, N30 explicitly follows the American tradition of Language Writing, directly referencing Ron Silliman and his concept of The New Sentence. However, it would seem that much of the poetical thinking around his use of this technique puts him closer to a writer such as Bruce Andrews. For Mettes, using non sequiturs as a unit of poetic construction was not only a way of reinventing formal textual construction, but it was another way of finding the fault lines in the social fabric. From the perspective of the Language tradition, one may put N30 somewhere between Silliman and Andrews. N30 shares an autobiographical element with Silliman’s New Sentence projects, and as in Andrews, there is a concern for mapping out social totality within text—what Mettes refers to as a “textual world civil war.” Again this shows a formal textual strategy for allowing the person “Jeroen Mettes” to be absorbed by the world, which here appears as a whirlwind of demotic and demonic chatter, full of violence, humor, intensity, beauty, disgust, sex, commerce, and strife. Influenced as it may by American precursors, Mettes’s tone and form end up quite different from his American counterparts, consistently referencing a world that is Dutch, all too Dutch, taking on the oppressive orderliness of Dutch society with its endemic penchant for consensus by introducing chaos into its daily life and laying bare its implicit aggressions. The work’s 31 chapters each have a different feel and rhythmical outline, but none of them follow a predetermined pattern. Rather, Mettes would consistently edit and reedit the text, randomly rewriting parts of it, as he explains in his poetical creed Politieke Poëzie (Political Poetry). N30 – referring to the 1999 antiglobalist protest in Seattle – was to be the first text of a trilogy. The work itself was written “in the mode of the present.” A second text was to be written in the mode of the future, and a third one, in the mode of the past, was going to be an epic poem about the Paris Commune, and to form an alternative poetic constitution for the European project. I still deeply regret that Jeroen Mettes never got to complete those projects, just as I would be very keen on knowing what he might have had to say about more recent political developments. Instead, in 2006, he remained stuck in the horrors of the present, that ended up consuming him completely. He left Dutch literature with some of its most piercing criticism and its most profoundly moving, exciting and powerful poetry. Excerpts from N30 Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "N30." In N30+ . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. Chapter 1 1999. A day is a space too. And another man, who had chained himself, had his ribs crushed, and a motor has driven over somebody’s legs. Dutch health care system spends ±145 million guilders per year on worriers. A spiderweb vibrates as I pass by. Randstad renovating. She slaps her bag against her ass: “Hurry up!” OPINION IS TRUE FRIENDSHIP Your skin. It doesn’t express anything. “But the use of the sword, that’s what I learned, and you’ll need nothing more for the moment.” Just try to interrogate a guy like that. Gullit in Sierra Leone. Codes silently lying all around. But that’s simply what belongs to “that it’s just allowed”: that sigh of “world” (a word expressing that the trees are now standing along the water like black men with white bags in their hair); that’s nothing else right? And you see how everything has to move, and first of all what cannot do so. Without Elysium and without savings, barbarians lashing out, horny for an enemy, staring across the water, staring into the air—staring to get out of it. “You’ve never showed me more than the mall,” she said. All those “dreams” in the end—and now? It was lying on the stairway, so I picked it up and took it upstairs. Chapter 3 “You know what?” Telecommunication. For love… I don’t really like that cheap cultural pessimism, but… The holy city is on pilgrimage in the earthly bodies of the faithful until the time of the heavenly kingdom has come. The end of an exhausting autumn day behind the computer, my eyes filled with tears of fatigue. KITCHEN / INSTALLATION / SPECIALIST. Network integration. In the sun, stretched out on a sheet. (…) I don’t believe what I’m reading, because I want to believe something else. An illusion? Suits me. There’s a variety of shapes and tastes… “So what?” you may think. 102 dalmatians can’t be wrong. But I want more, dear… A feel good movie. I’m smashing the burned body. So what? We continue to save the European civilization. What’s there to win? Plato with poets = Stalin without gulag? Ball against the crossbar. No wonder. She comes straight to her point. She’s standing in the kitchen eating an apple. (…) The godless Napoleon had used her as a stable and wanted to have her taken down. “Our” Rutger Hauer. Ready or not here I come. Psst… are you also wearing a string? Nobody understands our desire. Cliffs breaking the waves and shattering the sunset. I used to be a real romantic (as a poet). A typical fantasy used to be the one in which I brutally raped mother and daughter Seaver from the sitcom Growing Pains . Nevertheless you only contain bad words. Eyelashes. Automatic or manual? That your skin always in the afternoon. Integration. The air is empty. Too bad! Hand in hand on their lonely way. Alaska! Chapter 12 May 5, 2001 [10:00-10:30] A dust cloud on a hill. Globe. Indian (British) (tie) / pope. Damascus. Rape. We’re carrying the ayatollah’s portrait through the streets. At the moment the girl is mostly suede jacket with white ribbons on her sleeves. A small explosion flares up/impact. Camouflage. Close up. We’re analyzing the situation. He’s dead right? Dead dead. Dead. Everything without, these, and only with the body. Indices signal death. Dollar bills are printed in factories. Holes. Light patch. Globe in a box. Microphone. What’s the situation? Grey impact on a green hill (field?). The water is blue. He has no lips. Interns on the background with skirts that are too long. This is an example of a sonnet. An Islamic woman pushes against the door of an electronics shop. Arrows (percentages (prices)). Is this what awaits the American? Touch screen interface. The word, an island, can only be a sign in that situation. We pull up a chair, join in on the fun. On the shelves only books about computers. One glance in the distance is enough to lighten up a luna park in the distance. She’s really desperate, especially when she laughs. Click. Ah. Next. And now it’s raining, but that’s ok. Yellow stains sliding over the south. Shallow caves light: clothes, boots, electrical equipment. 45. 22:10. Nothing gives you the right to eat more than people starving to death. The Hague. Slam dunk. Traffic light. Two H’s, one L (standing for the L (little prick)). We’re happy to say something. Clouds, small suns, temperatures, cities. The truth is never an excuse. Yellow. Yellow. Green. Yellow. Yellow. Yellow. Yellow. Green. Green. Yellow. Will you email me? Skeleton: “No.” Ex-nerds in brand-new and brightly red sport cars. $$$. I love. Shihab. Hooves in the sand. Skinny senior with over-sized sunglasses; old jockey (cap, trophy) smiling in slow motion. And there I am again, flashback, crying with my head in between my hands. Sometimes I’ve got the feeling that cannibals. Eyes: blue. Cancer. Why would I wait until tomorrow? Golden beams protruding from the lifted/lit earth. May 5, 2001 [11:30-12:45] You’ll remember this for the rest of your life. Graphs, diagrams. Bu$ine$$. Blue shirt, white collar, no neck (porn star). A name lights up. I’m hysteric. Will you join us? Letters falling in their words. Fingers set up a tent and start to dance. Young entrepreneurs from poor neighborhoods (read: black) guided by Microsoft. Kinda makes me happy, that sort of kitsch. A sense of exhaustion/impotence to see anything but the present. (…) Wouldn’t you like to? Orange explosion in an industrial zone. YOU’RE DOING THIS FOR AMNESTY INTERNATIONAL. Would you. A familiar face. Clouds and blossom. Sunflowers. Supermodels. Mountainous area in a rectangle: shades of brown, from dark to beige, more green toward the south. Tents and next to them (it’s all a blur) people. Plane. Stadium. Geometrical block of people. No, I ain’t crying. I don’t speak no more. I just want. Quote + photo. (Positive:) screaming crowd. Three-piece suit, seen from the back, before entering the arena. On the back: “Daddy abused me.” Oh, bummer. State of emergency has been declared and everyone has to cooperate. She’s cut her wrists. What we do know (…) is that there’s never been a unique word, an imperative name, nor will there ever be. [Click here for work that suits you.] Barefooted children are watching it (coherent pieces revelation of what’s lying below). Who knows how she’s changed during those two years. “Everything used to be better” + sigh. And here we are. An empty field of parquet. A city lying behind it. Explosion. Blue. A rain drop falling in my coffee. May 5, 2001 [14:30-15:30] A young Arafat on video speaking with raised finger. “I’m calling from my convertible.” Names on walls, victims, numbers… Tourists. Yellow. Yellow. “Your own child! Really, what kind of human are you?” I don’t want to hear it no more. A woman jumping out of the water in a yellow bikini against a background of fireworks and the Cheops pyramid. Thy sorrow shall become good fortune, thy complaints laudation. All planets will float and wander. Wo die Welt zum Bild wird, kommt das System (…) zur Herrschaft. It is something, but is it? May 5, 2001 [18:30-19:00] Iris. Leaves. NASDAQ. Open / and white and. For the one who’s doing nothing, just waiting. (…) NO DEFEAT is made entirely up of defeat -- since / the world it opens is always a place / formerly / unsuspected. October 2002. “Jeroen, I’m leaving for the cemetery, byeeee.” The rise of the middle class. My entire oeuvre is an ode to the. My entire head is a fight against the. God always demands what you cannot sacrifice. You may take that the easy way, but… “The state hasn’t made us, but we make the state” (Hitler). A stork exits the elevator. Skeletons of. Moscow. Helsinki. Palermo. Paris. Chapter 30 Like your paradises: nothing. United Desire, as only remaining superpower. And even though the sea is now calmer and the wind is blowing pleasantly in my face… Heart! Who determines whether a tradition is “alive”? The yellow leaf or the white branch? Mars. This sentence is a typical example. Most Dutch people are happy. No consolation. When I see a girl sitting at a table with a book, a notepad, a pen, a bottle of mineral water, her hand writing in the light—then I consider that one thing. “Presents,” “poetry,” “classics.” We are what we cannot make from ourselves. “Left”: mendicant orders, missionaries. Saint-Just: “A republic is founded on the destruction of its enemies.” She crosses the street with a banana peel between her fingers. (…) We chose our own wardens, torturers, it was us who called all this insanity upon ourselves, we created this nightmare… But “no”? Girl (just like a beach ball) talking rapid Spanish (Portuguese?) in a mobile phone. Do I have a chance now that her boyfriend is getting bold? CLIO, horny bitch. What else do you want? An old woman, between the doors of the C1000, is suddenly unable to go on; her husband stretches out his hand, speaking a few encouraging words. Selection from. Der Führer schenkt den Jüden ein Stadt. How can it reach us if we haven’t been already reached somehow? It doesn’t “speak.” No problem. Each word she uses is a small miracle, as if she doesn’t belong to it, to language, but wanders around with a pocket light looking for the exit; she’s never desperate (maybe a little nervous), lighting up heavy words from the inside. But indeed, we’re free. But the predicate is not an attribute, but an event, and the subject is not a subject, but a shell. That’s why also samurai, knights, and warriors raised the blossom as emblem: they knew how to die. Locked up in a baby carriage with a McDonald’s balloon. Blue helicopter, the blue sky. Whether you want to refer? The point is. How / Motherfucker can I sing a sad song / When I remember Zion? You’ll feel so miserable and worthless that you think: “If only I were dead!,” or: “Just put an end to it!” “So you’re an economist?” Her card—two little birds building a nest, her handwriting shaking—is still on the mantelpiece. Guevara: “No, a communist.” A straw fire, such was our life: rapidly it flared up, rapidly it passed. I’m fleeing, coming from nowhere. (…) Eazy-E drinking coffee with the American president. If I’d scream, would that be an event? Drown it: the cleaner it will rise up from the depths. No! The night, so fast… As if there’s something opened up in that face. Come on, we may not curse life. He shows me his methadone: “If you drink that all at once, you’ll die instantly.” The last one dictates how we should behave to deserve happiness. One shine / above the earth. “I want to go to Bosnia,” I said bluntly. I don’t even know the name of the current mayor. Let’s despise our success! “There is no future; this is the future. Hope is a weakness that we've overcome. We have found happiness!” Sun. Sushi. Volvo. I feel like a bomb about to explode at any moment. Makes a difference for the reconstruction right? The decor moves forward. Daughter of Nereus, you nymphs of the sea, and you Thetis, you should have kept his tired head above the waves! Alas! This sentence has been written wearing a green cap. I receive my orders from the future. A frog jumps into it. Her husband has turned the Intifada, which he follows daily on CCN, into his hobby, “to forget that he doesn’t have his driver’s license yet." Suddenly the sun slides over the crosswalk. Her (his?) foot is playing with the slipper under the table. Is this how I’m writing this book now? I’m not a fellow man. I hate you and I want to hurt you. These are my people. Their screaming doesn’t rise above the constantly wailing sirens which we've learned to ignore. My whole body became warm and suddenly started to tremble. Unfortunate is he who is standing on the threshold of the most beautiful time, but awaits a better one. Arafat’s “removal” is contrary to American interests. Jeep drives into boy. What you can do alone, you should do alone. A food gift from the people of the United States of America. Two seagulls. [...]. (shrink)

As a category, poiesis can be extended beyond the standard anthropocentric use and applied across three radically different scales: auto-poiesis in everyday self-organization of every living creature, phylo-poiesis in the shaping of a species by sexual selection across various generations and onto-poiesis as an individual's development of formal skills and creative modification of its environment. In this paper, I apply these distinctions and argue, following Darwin and Sebeok, for the possibility of considering poietic and aesthetic manifestations among various animal species (...) in their ability of both appreciating and expressing rhythm, visual decorative patterns, and chromatic qualities. In music we can find song and equivalents to instrumental playing (cicadas and crickets), theater in representing fictitious situations (killdeer's broken wing act and playing), acrobatic skills (various types of woodcocks and paradise birds) and dancing (cranes and eleonora cockatoo). I do not claim there is animal art, since the very concept of the “artistic” is a result of convention. What I do assert, however, is that human aesthetic appreciation did not emerge ex nihilo nor was granted by God to humans only (as Wallace believed) but has evolutionary relevance and is preceded by the zoo-aesthetics in many other species. (shrink)

continent. 1.2 (2011): 145-147. Here I accoutred myself in my new habiliments; and, having em- ployed the same precautions as before, retired from my lodging at a time least exposed to observation. It is unnecessary to des- cribe the particulars of my new equipage; suffice it to say, that one of my cares was to discolour my complexion, and give it the dun and sallow hue which is in most instances characteristic of the tribe to which I assumed to belong; (...) and that when my metamorphosis was finished, I could not, upon the strictest ex- amination, conceive that any one could have traced out the per- son of Caleb Williams in this new disguise. William Godwin Caleb Williams (352). Giorgio Agamben. Nudities . Trans. David Kishik and Stefan Pedatella. Stanford: Stanford University Press, 2011. 144 pp. | 10 illustrations. | ISBN: 9780804769501 | $16.95 A. The Protective Overcoat. The most pervasive, resilient, robust, sneaky, and significant concept in all of Giorgio Agamben’s essays is that of separation. This is not the same as alienation. Separation is more nostalgic, for Agamben valorizes an ancient world in which human society and its beings were not subject to such separation. He implies that these separations are damaging to human beings, crippling them at the very level of their identities. $4.99 B. The Handsome Gloves. Giorgio Agamben’s Nudities , like Profanations before it, employs a wide range of subjects in order to establish separation as a metaphor, in much the same way that interdisciplinary scholars have adopted Michel Foucault’s concepts in order to rethink societies and texts. The longest essay from Profanations, entitled “In Praise of Profanation,” laments humankind’s inability to profane as the result of what Walter Benjamin has called “the capitalist religion.” Likewise, “Nudity” adopts a pessimistic stance on the Christian theological tradition’s perverse asphyxiation of the unclothed body. $2.50 C. The Hoop Earrings. Religion separates humans from things by procuring for itself items as “sacred,” thus taking them out of common use. In this state, human beings are unable to play with them, unable to change their use-value. They become off-limits, museified. $1,499.00 D. The Uncomfortable Shoes. Biometrics polices identity, replacing meaningful metrics of identity. It is a deplorable situation that leaves human beings in danger of, and indeed already victims of, mass persecution. $111.75 E. The Prince Albert. One could characterize Giorgio Agamben’s desire to catalogue a history of ignorance as a recognition that human beings are separated from knowledge by language. Where then is the prophet, and how shall we be saved? $49.50 + tip F. The Corset. Franz Kafka’s character of Joseph K. has put himself on trial, as in Roman trials when the Kalumniator was marked with the letter K. The torture he undergoes is meant to elicit a confession of the truth. It is possible that Giorgio Agamben perceives his role as a philosopher to be confined to self-trial, and that with every passage he flays the unclothed page with prophetic intent. $27.00 G. The Derby. Giorgio Agamben himself tries to bridge various separations through exploratory play. He is not a performative writer semantically, but his exploratory style is rooted in the play spirit. His strategy of numbering points is almost comical, yet it is not misleading. It is play, after all, not ruse. He denudes with pecks, like carrion on a tattered corpse. $11.00 H. The Trousers. Although Giorgio Agamben is elsewhere concerned with the profanation of religion’s apparatuses, in essay nine he would like to consider what is consumed during days of inoperativity, how religion governs these, and how to account for our binges and purges. Inoperativity is inextricably bound to feasting, to the festival. $24.50 I. The Stylish Belt. The only essay in Nudities to contain photographs is the essay entitled, “Nudity.” All of these photographs project human bodies. $.01 I The aim here is not to tap into an original state prior to the separation but to comprehend and neutralize the apparatus that produced this separation. (66) II The contemporary is he who firmly holds his gaze on his own time so as to perceive not its light but rather its darkness. (13) III We can therefore only experience nudity as a denudation and a baring, never as a form and a stable possession. (65) IV Just as genius and talent originally distinct and even opposite—are nevertheless united in the work of the poet, so the work of creation and the work of salvation, inasmuch as they represent the two powers of a single God, remain in some way secretly conjoined. (6) V In our culture, the face-body relationship is marked by a fundamental asymmetry, in that our faces remain for the most part naked, while our bodies are normally covered. (88) VI Every man initiates a slanderous trial against himself. (21) VII The glorious body is not some other body, more agile and beautiful, more luminous and spiritual; it is the body itself, at the moment when inoperativity removes the spell from it and opens it up to a new possible common use. (103) VIII As Kleist understood so well, the relationship with a zone of nonknowledge is a dance. (114) IX The deactivation of this apparatus retroactively operates, therefore, as much on nature as on grace, as much on nudity as on clothing, liberating them from their theological signature. (90) X At any rate, whether festive inoperativity precedes religion or results from the profanation of its apparatuses, what is essential here is a dimension of praxis in which simple, quotidian human activities are neither negated nor abolished but suspended and rendered inoperative in order to be exhibited, as such, in a festive manner. (112) XI This is just how much [of] the land [the] surveyor is allowed to catch a glimpse. (36). (shrink)

This article focuses on what bodies know yet which cannot be expressed verbally. We started with a problem encountered during conventional interviewing in an ex-mining community in south Wales when some teen girls struggled to speak. This led us to focus on the body, corporeality and movement in improvisational dance workshops. By slowing down and speeding up video footage from the workshops, we notice movement patterns and speculate about how traces of gender body-movement practices developed within mining communities over time (...) become actualised in girls’ habitual movement repertoires. Inspired by the works of Gilles Deleuze, Felix Guattari and Erin Manning, a series of cameos are presented: room dancing; the hold; the wiggle; the leap and the dance of the not-yet. We speculate about relations between the actual movements we could see, the in-act infused with the history of place, and the virtual potential of movement. (shrink)

The awareness of the last 20 years about embodied cognition is directing multidisciplinary attention to the musical domain and impacting psychological research approaches from the 4E cognition. Based on previous research regarding musical teaching and learning conceptions of 30 young guitar apprentices of advanced level in three learning cultures: Western classical, jazz, and flamenco of oral tradition, two participants of flamenco with polarised profiles of learning were selected as instrumental cases for a prospective ex post facto design. Discourse and practice (...) of the two flamenco guitarists were analysed in-depth to describe bodily issues and verbal discourse on the learning practice in their natural contexts. Qualitative analysis is performed on the posture, gestures, verbal discourse, and musical practice of the participants through the System for the Analysis of Music Teaching and Learning Practices. The results are organised attending: the Embodied mind through differential postures and gestures of flamenco participants that showed a fusion among verbal, body language, and musical discourse with respect to the musical literacy cultures; the Embedded mind and a detailed description of circumstances and relationships of the two flamenco participants, and how music is embedded in their way of life, family and social context, and therefore transcends musical activity itself; the Enactive mind, regarding the active processes that make differences between the reproductive and the transformative flamenco apprentices, then tentative relationship are observed in the discourse of each apprentice and the way in which they practice; finally, the Extended mind through the bodily, technical and symbolic tools they use during learning. Flamenco culture of oral tradition made use of listening, and temporary external representations instead of notational, but also the body played a central role in a holistic rhythm processing through multimodality, such as singing, playing, and dancing. Conclusions point out the embodied mind as a result of the culture of learning reflected through the body and the gesture in instrumental learning. (shrink)

We enter here upon a history of conversational traffic between the respective departments of philosophy and law in the old academy of liberalism, where lawyers hear much from philosophers, yes-and philosophers hear from lawyers, too, in what has fruitfully been a both-ways exchange. Our philosophical protagonist is John Rawls. This book comprises a study of the rise and workings, within the Rawlsian political-liberal philosophy, of the idea of a country's higher-legal constitution as a public platform for the justification of political (...) coercion. A study of Rawls on constitutionalism can help us, I believe, in scoping out and managing a cluster of constitutional lawyers' debates-interminable ones, it seems, in the constitutional-democratic precincts of our times-that I will catalogue soon below. But conversely, I believe, those seeking the best and truest readings of Rawls might have something to learn from the controversies of the lawyers. My approach to Rawls has accordingly been that of a critically leavened (while no doubt broadly sympathetic) exegesis, while with the legal-discursive materials I take more of a diagnostic turn. My hope is that a treatment of these two discourses in relation to each other will prove an aid to both political-philosophical and legal-practical reflection. (shrink)

Machine generated contents note: Part I -- Doctors -- Dr. Joseph Messer -- Dr. Sharon Sandell -- ER -- Dr. John Barrett -- Marc and Noreen Levison, a paramedic and a nurse -- Lloyd (Pete) Haywood, a former gangbanger -- Claire Hellstern, a nurse -- Ed Reardon, a paramedic -- Law and Order -- Robert Soreghan, a homicide detective -- Delbert Lee Tibbs, a former death-row inmate -- War -- Dr. Frank Raila -- Haskell Wexler, a cinematographer -- Tammy (...) Snider, a Hiroshima survivor (hibakusha) -- Mothers and Sons -- V.I.M. (Victor Israel Marquez), a Vietnam vet -- Angelina Rossi, his mother -- Guadalupe Reyes, a mother -- God's Shepherds -- Rev. Willie T. Barrow -- Father Leonard Dubi -- Rabbi Robert Marx -- Pastor Tom Kok -- Rev. Ed Townley -- The Stranger -- Rick Rundle, a city sanitation worker -- Part II -- Seeing Things -- Randy Buescher, an associate architect -- Chaz Ebert, a lawyer -- Antoinette Korotko-Hatch, a church worker -- Karen Thompson, a student -- Dimitri Mihalas, an astronomer and physicist -- A View from the Bridge -- Hank Oettinger, a retired printer -- Ira Glass, a radio journalist -- Kid Pharaoh, a retired "collector" -- Quinn Brisben, a retired teacher -- Kurt Vonnegut, a writer -- The Boomer -- Bruce Bendinger, an advertising executive and writer -- Part III -- Fathers and Sons -- Doc Watson, a folksinger -- Vernon Jarrett, a journalist -- Country Women -- Peggy Terry, a retired mountain woman -- Bessie Jones, a Georgia Sea Island Singer (1972) -- Rosalie Sorrels, a traveling folksinger -- The Plague I -- Tico Valle, a young man -- Lori Cannon, "curator" of the Open Hand Society -- Brian Matthews, an ex-bartender, writer for a gay weekly -- Jewell Jenkins, a hospital aide -- Justin Hayford, a journalist, musician -- Matta Kelly, a case manager -- The Old Guy -- Jim Hapgood -- The Plague II -- Nancy Lanoue -- Out There -- Dr. Gary Slutkin -- Day of the Dead -- Carlos Cortez, a painter and poet -- Vine Deloria, a writer and teacher -- Helen Sclair, a cemetery familiar -- The Other Son -- Steve Young, a father -- Maurine Young, a mother -- The Job -- William Herdegen, an undertaker -- Rory Moina, a hospice nurse -- The End and the Beginning -- Mamie Mobley, a mother -- Dr. Marvin Jackson, a son -- Epilogue -- Kathy Fagan and Linda Gagnon, mothers. (shrink)

Recent experiments in moral psychology have been taken to imply that moral reasoning only serves to reaffirm prior moral intuitions. More specifically, Jonathan Haidt concludes from his moral dumbfounding experiments, in which people condemn other people’s behavior, that moral reasoning is biased and ineffective, as it rarely makes people change their mind. I present complementary evidence pertaining to self-directed reasoning about what to do. More specifically, Albert Bandura’s experiments concerning moral disengagement reveal that moral reasoning often does contribute effectively to (...) the formation of moral judgments. And such reasoning need not be biased. Once this evidence is taken into account, it becomes clear that both cognition and affect can play a destructive as well as a constructive role in the formation of moral judgments. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dune(s)Michel Pierssens, co-founder of SubStance (bio)Any great work of art, be it literary or otherwise, is made of intricate enigmas that admit infinite solutions, indifferent to their content, true or false, since no one holds the key (or Occam style razor) to judge, not even its author. In the best of cases, indeed, the author has produced his œuvre precisely to confront the unknown and face the deadly monsters (...) that make the labyrinths worth exploring in the first place. The reader of the work, or watcher of the painting or film, cannot escape the perilous attraction of the cognitive maelstrom he, hesitantly or trustfully, enters at his own risk. Every word or stroke on canvas or chord or instant shutter of the camera or unending gros plan may hide unexpected doors to impossible worlds, each of them possible nonetheless. Love, hate, crime, lust, power, etc.: every facet of human experience can become scary or exciting forces to be faced, for just an instant or for an inconclusive lifelong struggle. Time is possibly the most intractable of those forces as only unconceivable gods can make of it their plaything. Similar to the desert planet of Frank Herbert's Dune, it harbors unpredictable monsters that destroy anything that moves—unless one learns to dance in an equally unpredictable fashion, winning a reprieve only to end up inescapably a fatality, having met the unavoidable fatum.SubStance has been travelling a much populated and cacophonic desert for fifty years, maintaining, despite the times' ubuesque twists and turns, its acrobatic démarche and tracing its empirical path through the intellectual dunes of two or three generations, collecting as it went many stimulating spices that it shared, avoiding its sale to the highest academic bidder. Editing a journal cannot be compared to the creation of a work of art, but it partakes in its aspiration to question the Known and face the Unknown, with the support of an army of minds devoted to the intriguing study of any cognitive coup de dés. [End Page 13]Michel Pierssens Michel Pierssens is co-founder of SubStance, with Sydney Lévy, and co-founder of the journal Histoires littéraires. He is Emeritus Professor of French literature, Université de Montréal.Copyright © 2023 Johns Hopkins University Press and SubStance, Inc.... (shrink)

During the 1980's and the early 1990's South Africa experienced disturbing political violence of an unprecedented scope, intensity and nature. It was disturbing because it entailed acts of horrifying brutality, notably the ‘necklace' and the massacre, all of this against the background of ‘civilized' and measured com promise and negotiation. It stubbornly continued despite the unbanning of the liberation political organisations, and the holding of ‘free and fair' elections in April 1994. And it was unprecedented in a whole range of (...) ways, but mainly because of the fact that it was intracommunal, or black- on- black, violence. It was the first time that Black political organisations had turned on each other rather than their white oppressors. For our purposes, what is interesting is the range of responses emanating from South African social scientists in explaining this new phenomenon. Historically, explaining Black political violence in South Africa has had a difficult time of it. Starting with Pierre van den Berghe in 1962, predictions of imminent revolution against the apartheid regime have been so regularly and frequently proved wrong, that a whole industry has arisen in explaining quiescence rather than violence. The first cluster of theories spawned by the 1976 schools uprising, as Frank Molteno noted in his 1979 review, were analytically disappointing, if not crudely racist. Subsequent overviews by Manganyi & du Toit in 1990, and Beinart in 1992 have born evidence of considerably greater sophistication.; Manganyi, N & A du Toit, ; Beinart, W ). Nevertheless, as I shall show, most have remained within quite conventional theoretical and structuralist parameters. Many have their roots in the earlier dominant Marxism of the 1970's. In this sense they tend towards structural and class determinism, towards absolutist notions of power, and absolutist moral judgement of both apartheid and the individuals associated, however indirectly, with it. In consequence, Black incumbents of apartheid structures were inevitably depicted as willess and powerless puppets dancing to the tune of omnipotent White masters. In this context, it was wrong to talk of black- on- black violence, since one side of this equation, in reality, represented white interests. Much of this analysis also started from quite easy notions of the origins of violence. In this view it was sufficient to show conflicts of interest, or contra diction, in order to conclude that violence had been adequately explained. Against this background the more hermeneutic contribution by André du Toit to the debate stands out as theoretically innovative, nuanced and bold. This is not to say that it is with out problems. But I do wish to present a picture of a social theorist of considerable imagination and subtletly. Looking back over these theories, it would be tempting to say that the first category of structuralist accounts, should be supplemented with the second category of hermeneutic, accounts. But simply adding theoretically discrepant accounts together is too easy. It is only when the whole notion of structure, employed in the first category, is rethought in post-structuralist form, that an integration of the two elements becomes feasible. This paper follows a Giddensian line in pursuing this reconceptualization. (shrink)

During the 1980's and the early 1990's South Africa experienced disturbing political violence of an unprecedented scope, intensity and nature. It was disturbing because it entailed acts of horrifying brutality, notably the ‘necklace' and the massacre, all of this against the background of ‘civilized' and measured com promise and negotiation. It stubbornly continued despite the unbanning of the liberation political organisations, and the holding of ‘free and fair' elections in April 1994. And it was unprecedented in a whole range of (...) ways, but mainly because of the fact that it was intracommunal, or black- on- black, violence. It was the first time that Black political organisations had turned on each other rather than their white oppressors. For our purposes, what is interesting is the range of responses emanating from South African social scientists in explaining this new phenomenon. Historically, explaining Black political violence in South Africa has had a difficult time of it. Starting with Pierre van den Berghe in 1962, predictions of imminent revolution against the apartheid regime have been so regularly and frequently proved wrong, that a whole industry has arisen in explaining quiescence rather than violence (P. van den Berghe, 1965). The first cluster of theories spawned by the 1976 schools uprising, as Frank Molteno noted in his 1979 review, were analytically disappointing, if not crudely racist. Subsequent overviews by Manganyi & du Toit in 1990, and Beinart in 1992 have born evidence of considerably greater sophistication (Molteno, F (1979).; Manganyi, N & A du Toit, (1990); Beinart, W (1992)). Nevertheless, as I shall show, most have remained within quite conventional theoretical and structuralist parameters. Many have their roots in the earlier dominant Marxism of the 1970's. In this sense they tend towards structural and class determinism, towards absolutist notions of power, and absolutist moral judgement of both apartheid and the individuals associated, however indirectly, with it. In consequence, Black incumbents of apartheid structures were inevitably depicted as willess and powerless puppets dancing to the tune of omnipotent White masters. In this context, it was wrong to talk of black- on- black violence, since one side of this equation, in reality, represented white interests. Much of this analysis also started from quite easy notions of the origins of violence. In this view it was sufficient to show (objective) conflicts of interest, or contra diction, in order to conclude that violence had been adequately explained. Against this background the more hermeneutic contribution by André du Toit to the debate stands out as theoretically innovative, nuanced and bold. This is not to say that it is with out problems. But I do wish to present a picture of a social theorist of considerable imagination and subtletly. Looking back over these theories, it would be tempting to say that the first category of structuralist accounts, should be supplemented with the second category of hermeneutic, accounts. But simply adding theoretically discrepant accounts together is too easy. It is only when the whole notion of structure, employed in the first category, is rethought in post-structuralist form, that an integration of the two elements becomes feasible. This paper follows a Giddensian line in pursuing this reconceptualization. S. Afr. J. Philos. Vol.20(1) 2001: 102-123. (shrink)

Biomarker-based predictive tests for subjectively asymptomatic Alzheimer’s disease (AD) are utilized in research today. Novel applications of artificial intelligence (AI) promise to predict the onset of AD several years in advance without determining biomarker thresholds. Until now, little attention has been paid to the new ethical challenges that AI brings to the early diagnosis in asymptomatic individuals, beyond contributing to research purposes, when we still lack adequate treatment. The aim of this paper is to explore the ethical arguments put forward (...) for AI aided AD prediction in subjectively asymptomatic individuals and their ethical implications. The ethical assessment is based on a systematic literature search. Thematic analysis was conducted inductively of 18 included publications. The ethical framework includes the principles of autonomy, beneficence, non-maleficence, and justice. Reasons for offering predictive tests to asymptomatic individuals are the right to know, a positive balance of the risk-benefit assessment, and the opportunity for future planning. Reasons against are the lack of disease modifying treatment, the accuracy and explicability of AI aided prediction, the right not to know, and threats to social rights. We conclude that there are serious ethical concerns in offering early diagnosis to asymptomatic individuals and the issues raised by the application of AI add to the already known issues. Nevertheless, pre-symptomatic testing should only be offered on request to avoid inflicted harm. We recommend developing training for physicians in communicating AI aided prediction. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:White Power and American Neoliberal Culture by Patricia Ventura and Edward K. ChanJennifer A. Wagner-LawlorPatricia Ventura and Edward K. Chan. White Power and American Neoliberal Culture. Oakland: University of California Press, 2023. 168 pp., hardcover, $22.95. ISBN 9780520392793.White Power and American Neoliberal Culture, by utopian studies scholars Patricia Ventura and Edward K. Chan, feels like a tour de force. I say "feels" for a reason: if you live (...) in America, what you read in this book feels entirely familiar, sketching out U.S. racialized socio-political dynamics. But I also experienced a feeling of uncanniness, as Ventura and Chan expose the underbelly of a white supremacist United States—in which I happen to live. I have not read so clear and so well historicized an account of the kinds of events that prompt me to say, almost nightly, "This country is insane." The book does not change that opinion—but it does do something else: it makes sense of the insanity. It is a diagnosis of the social and ethical dis-ease, the etiology of which the authors locate in the country's very earliest days (indeed before). I do not usually point at book jacket blurbs in reviews, but I found the comments on this text's back cover absolutely accurate, with words like "urgent," "striking," "gripping," "timely," and "chilling" precisely describing my own experience of reading White Power and American Neoliberal Culture. Part of that affective impact, for a well-educated white citizen of this country, comes from the book's frank assessments not only of white supremacists' ongoing threat to democracy but also of the complicity of the "intellectual class" in this country, which often finds itself frankly baffled by such phenomena as a twice-impeached, four-times-(so-far)-indicted, overtly racist and sexist ex-president to be the unchallenged frontrunner for the Republican Party's nomination for the 2024 presidential election. The authors of White Power do not hesitate to describe events such as the Charlottesville white supremacy march and the January 6 insurrection as anything but a "horror"; that said, the point of their analysis is not to demonize "Trump voters" as "far white" supremacists and "cultists" [End Page 251] (CNN's most frequent nomination recently) but to distinguish carefully the factors at play that pull together "normal Republicans" and fringe racist and nationalist groups under one banner. The "red thread" from the founding of the colonies to this moment is always, and still, they argue, race. It is actually "chilling" to read Ventura's and Chan's explanation of how the white nationalist movement, which seems (and is) so radically anti-democratic, makes a certain kind of sense, and why a populist attraction to authoritarianism will continue to threaten what "we" (the identity of which is, of course, the central question) have (mis)understood "democracy in America" to be.Many readers will know that Ventura and Chan have collaborated for some years—and to see a co-authored book emerge from that work is a testament to how that collaboration has thrived, by "building on our previous separate scholarship that analyzes white power utopias (Chan) and American neoliberal culture (Ventura)" (4). In the overlap of their work, they have illuminated a troubling gap in the literature of neoliberalism and utopia alike: race. The intersection of critical race studies and utopian studies was only starting to appear in the 1990s and early 2000s; the collaboration of Ventura and Chan in mining the historical and narratological resources of thinking utopia through race, and race through utopia, has proven itself more than the sum of its parts, as they say: their work has been generative in several fields.Moreover, their mutual accountability as authors has a direct impact on the quality of the book's prose. Both are admirably clear writers in their own right. In White Power, the rigor of this collaborative process, which ultimately depends on trust and on an intellectual consensus about what they put down on paper, informs the confidence and concision of the prose; the careful historicizing of literary/aesthetic, political, and economic contexts heightens the urgency of the book's conclusions. There is... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THE INCOMMUNICABILITY OF HUMAN PERSONS JOHN F. CROSBY, III Franciscan University of Steubenville Steubenville, Ohio I PROPOSE TO explore the idea that persons do not exist as replaceable specimens of or as mere instances of an ideal or type, but rather exist in some sense for their own sakes, each existing as incommunicably his or her own.1 I undertake this study in the conviction that the incommunicability of persons (...) is profoundly characteristic for them precisely as persons, and has a major role to play in any philosophy of the person. And there is an entirely different reason which attracts me to this subject. I think that most of what I have to say here can find acceptance across a broad spectrum of philosophical positions. At a time when thinkers are increasingly suspicious of universally valid truth about man, when many of them think that a vision of man is proper only to some tradition and valid only within that tradition and not beyond it, one can offer a salutary challenge to one's contemporaries by showing a centrally important truth about persons which, as I say, can be accepted by philosophers coming from the most various points of view. Suppose that you were to minimalize the death of someone by saying that at least the human species did not die with him or her, as if the immortality of the species more than compensated for the mortality of this individual : everyone understands that you would thereby radically depersonalize the deceased. Or suppose that you were grieving over the death of someone dear to you, and a friend tried to comfort you with the thought that the 1 My thanks to Josef Seifert, William Frank, Damian Fedoryka, and Katryna Fedoryka for their comments on earlier drafts of this study. The text of this article forms Chapter Two of my book, Essay on Personal Selfhood, which is close to completion. 403 404 JOHN F. CROSBY, III particular excellences of the deceased, which awakened your love, also exist in other human beings who are still living, as if you could continue to love in them what you had loved in the deceased. Again, everyone understands that if you treat people having excellences as if they were replaceable specimens of those excellences, then you lose your grip on them as persons. But why is this? Why is personhood driven out of human beings as soon as their species-membership, or their particular excellences, are thought to predominate in them? What is that incommunicability of each person which is obscured as soon as persons are thought to be only specimens? One commonly thinks that this aspect of personal selfhood has been recognized only in modern thought; in fact it was recognized already by St. Thomas Aquinas. Creatura autem rationalis divinae providentiae substat sicut secundum se gubernata et provisa, non solum propter speciem, ut aliae corruptibiles creaturae : quia individuum quod gubernatur solum propter speciem, non gubernatur propter seipsum; creatura autem rationalis propter seipsam gubernatur, ut ex dictis manifestum est. Sic igitur solae rationales creaturae directionem a Deo ad suos actus accipiunt non solum propter speciem, sed secundum individuum.2 Notice that Aquinas teaches here the metaphysical ultimacy of personal incommunicability; it exists even before God in the sense 2 " Now, a rational creature exists under divine providence as a being governed and provided for in himself, and not simply for the sake of his species, as is the case with other corruptible creatures. For the individual that is governed only for the sake of the species is not governed for its own sake, but the rational creature is governed for his own sake, as is clear from what we have said (ch. 112). And so, only rational creatures receive direction from God in their acts, not only for the species, but for the individual." Summa Contra Gentiles, III, ch. 113 (Bourke translation). By the way, Chapters 111-114 of Book III seem to me to constitute the most " personalist " passage' in the entire corpus of St. Thomas. The modern reader sees to his amazement that St. Thomas here has already made his own the Kantian idea that each person in a sense exists for his... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Medieval Troubadour Mobilized in the French Resistance *Roy RosensteinIntroduction: The Place of Poetry under VichyRien ne semblait plus anachronique que d’interroger, inter arma, le silence des Muses médiévales....Frank 1In Chantons sous l’occupation André Halimi details how raucously the band played on in wartime Paris. 2 If Vercors in 1941 advocated the practice of silence and Sartre in 1945 maintained that Paris had been dead for the four (...) years of the Nazi occupation, Halimi and others have shown that Parisians [End Page 499] sang, danced, and laughed during the Occupation as never before. 3 Rarely had so many plays been staged, so many movies been produced. 4 While in other Nazi-occupied countries the theaters and restaurants remained closed, thus preserving a modicum of national dignity in defeat, in France the arts thrived and la vie mondaine accelerated its pace. Journalist Henri Amouroux rightly explains how cinema and theater provided more than entertainment and why they were periodically the target of curfews. In these wartime performances a seemingly insignificant phrase could take on a rich contemporary context. Thus a line like “toute la fleur du royaume se trouve en prison” in Montherlant’s La reine morte invariably provoked applause. Whether the text was classical or contemporary in origin, the audience “seized upon all the passages that could be linked to the current situation.” 5 In this broad sense, Resistance literature came to include any “poetry written and/or distributed in France during the Occupation, and which the reader sees as implicitly or explicitly conveying hostility to Nazism and Collaboration.” 6Between 1940 and 1944 French audiences escaped their national misfortunes more through literature than through film and drama combined. “Never, perhaps, had literature played such a momentous part in the daily life of French readers,” wrote the late Henri Peyre in 1945. 7 As is often noted, the intellectual Resistance “fut surtout poétique.” 8 Every page of poetry, past or present, seemed to remind wartime readers of their current circumstances. One young poète résistant is categorical: “Never before had poetry played such a decisive role in history.” 9 Pierre Brunel of the Sorbonne is just as emphatic in confirming [End Page 500] the judgment of contemporary scholars and Resistance fighters alike: “During the war years, French poetry found a singleness of purpose and an audience that it had never enjoyed before.” 10In anticipation of more comprehensive treatments of French Resistance poetry sens large, the present study proposes a necessarily modest and certainly partial approach to the role of poetry in the French Resistance. Following the general groundwork of Seghers, Gaucheron, Higgins, and others, it undertakes to track, if only schematically, the reaction to France’s fall as polarized across three territories—in American exile, in Vichy France, and in German camps—through a focus on one exemplary twelfth-century troubadour. Concurrently with the “nouvelle floraison poétique” hailed by André Rousseaux in 1941, 11 Jaufre Rudel was one earlier poet who enjoyed a resurgence of interest during the war. With respect to this troubadour, to date only Dietmar Rieger has mentioned in passing an oblique reference to Rudel’s trademark distant love in Aragon’s “Pour un chant (national)”: “Jaufre’s love from afar is set against a love for France.” 12 This particular troubadour’s legend and lyrics assumed new dimensions through their immediate relevance not only for Aragon but for all French nationals, both imprisoned at home and exiled abroad. Literary historian René Dumesnil observed as early as 1941 with respect to pre-war French classics: “Present circumstances give them new depth and extend their range.” 13 Regarding France’s medieval literature, a modern critic has noted how “the troubadours, just as much as Tristan, Roland, Lancelot, Perceval, or even Yseult..., emerge as agents of unity, even of unanimity, around whom it is still possible to muster the French people in 1940.” 14 [End Page 501]As has been observed for centuries, “Frenchmen abroad seldom wholly give up the idea of going back to France some time or other.” 15 All French patriots and expatriates, wherever they found themselves after the Armistice in June 1940, whether... (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)