Recent studies of early development in a number of ivertebrate and vertebrate species have suggested that growth factors and their receptors may play important roles in differentiation as well as cell proliferation. In the mouse embryo, the expression of the receptors for insulin and insulin‐like growth factors I and II (IGF‐I and ‐II) are temporally regulated. The ontogeny of receptor and ligand expression within the insulin and IGF gene family suggests that the very earliest stages of mammalian embryogenesis may be (...) subject to regulation by autocrine and paracrine factors from maternal and embryonic sources. (shrink)

We outline a cognitive and computational account of causal learning in children. We propose that children employ specialized cognitive systems that allow them to recover an accurate “causal map” of the world: an abstract, coherent representation of the causal relations among events. This kind of knowledge can be perspicuously represented by the formalism of directed graphical causal models, or “Bayes nets”. Human causal learning and inference may involve computations similar to those for learnig causal Bayes nets and for predicting with (...) them. Preliminary experimental results suggest that 2- to 4-year-old children spontaneously construct new causal maps and that their learning is consistent with the Bayes-Net formalism. (shrink)

Since its founding in 1943, Medievalia et Humanistica has won worldwide recognition as the first scholarly publication in America to devote itself entirely to medieval and Renaissance studies. Since 1970, a new series, sponsored by the Modern Language Association of America and edited by an international board of distinguished scholars and critics, has published interdisciplinary articles. In yearly hardbound volumes, the new series publishes significant scholarship, criticism, and reviews treating all facets of medieval and Renaissance culture: history, art, literature, music, (...) science, law, economics, and philosophy. (shrink)

Zygotic gene activation (ZGA) is the critical event that governs the transition from maternal to embryonic control of development. In the mouse, ZGA occurs during the 2‐cell stage and appears to be regulated by the time following fertilization, i.e. a zygotic clock, rather than by progression through the first cell cycle. The onset of ZGA must depend on maternally inherited proteins, and post‐translational modification of these maternally derived proteins is likely to play a role in ZGA. Consistent with this prediction (...) is that protein phosphorylation catalyzed by the cAMP‐dependent protein kinase is involved in ZGA and that protein synthesis is not required for ZGA. Recent results suggest that ZGA may occur earlier than previously thought, i.e. not during the 2‐cell stage, but rather in G2 of the 1‐cell embryo. Thus ZGA may comprise a period of minor gene activation in the 1‐cell embryo that is followed by a period of major gene activation in the 2‐cell embryo. Following ZGA, the expression of constitutively activated genes may require an enhancer. (shrink)

The ovarian reserve defines female reproductive lifespan, which in humans spans decades. The ovarian reserve consists of oocytes residing in primordial follicles arrested in meiotic prophase I and is maintained independent of DNA replication and cell proliferation, thereby lacking stem cell‐based maintenance. Largely unknown is how cellular states of the ovarian reserve are established and maintained for decades. Our recent study revealed that a distinct chromatin state is established during ovarian reserve formation in mice, uncovering a novel window of epigenetic (...) programming in female germline development. We showed that an epigenetic regulator, Polycomb Repressive Complex 1 (PRC1), establishes a repressive chromatin state in perinatal mouse oocytes that is essential for prophase I‐arrested oocytes to form the ovarian reserve. Here we discuss the biological roles and mechanisms underlying epigenetic programming in ovarian reserve formation, highlighting current knowledge gaps and emerging research areas in female reproductive biology. (shrink)

Critical theory has recently charted the rise of an unprecedented wave of social acceleration transforming Western capitalism. Within that body of work, a tendency has emerged to frame this new temporality as a stable structure lacking in the possibility for visions of alternatives, let alone for substantive revolt or challenge. This essay argues that recent struggles like Occupy and 15-M experimented with an alternative, utopian temporality that challenged and disrupted acceleration, revealing the latter to be prone to generating and expanding (...) the conditions of temporal struggle. Acceleration is therefore unstable, and cannot be adequately understood apart from its increasing cultivation of visions of and experiments in other temporalities. (shrink)

The Vestal Virgins are one of the most famous elements of Roman religion, yet despite their perennial appeal and the importance of some smaller scale studies of the priesthood, the priestesses have not received a monograph-length study since F. Giuzzi, Aspetti giuridici del sacerdozio romano. II sacerdozio di Vesta (Naples, 1968). Now we have books by R.L. Wildfang and M.C. Martini that could not be more different. The former offers a thorough survey of what the sources can tell us about (...) the priesthood in the period from the end of the Second Carthaginian War to the first century C.E. The latter is an analysis of early Roman historiography and the role the Vestals, in particular their periodic unchastity, played in the creation of the traditional account of the development of Rome. W's book puts forward two main arguments: (1) the Vestals were charged with the ritual purification of the city and with the storage and preparation of ritual materials, and (2) many aspects of the priesthood that have long puzzled scholars are tied to the Vestals' status as Roman citizens, but citizens who existed outside the traditional family structure. The book will be accessible to those new to the topic, but the notes will repay specialists. Ancient sources are quoted in translation, with original texts provided in an appendix. A second appendix provides a list of known Vestals. This slender volume could have been even thinner if the frequent repetitions were cut down. W's work might have been better as a hefty article, so little is there to know about the Vestals. The Classical Review vol. 58 no. 1 C The Classical Association 2008; all rights reserved This content downloaded from 204.235.148.90 on Sat, 26 Jul 2014 11:47:09 AM All use subject to JSTOR Terms and Conditions THE CLASSICAL REVIEW 213 In the Introduction, W makes a welcome distinction among types of rituals often lumped together in discussions of 'fertility' rituals, with which the Vestals are often associated (p. 4). W reserves 'fertility' to describe only those rites that deal with the reproduction of people, livestock and the growth of crops. Harvest rituals are linked to the harvesting of crops, while another set of rites, 'storage rites', are tied to the preservation of the harvest. The final group, purification rituals, aim at the cleansing of an individual, place or object of 'all forms of pollution that would render it or them unfit to come into contact with the religious sphere'. The book is arranged thematically. The first two chapters lay out all we can know about the priestesses' ritual obligations performed in the seclusion of the temple and out amongst the people. While a reader may not find W's interpretation of each of the Vestals' actions equally persuasive, the overall argument that the priestesses' activities were, by and large, purificatory is convincing. Two of the more interesting aspects of W.'s discussion are her considerations of Vesta's fire and of the water required for some of her rituals (pp. 8-11). Fire was seen by the Romans as both a fertile and a sterile force, and scholars have emphasised one or the other, or the contrast between them, in their interpretation of the Vestals. W points out that fertile fire is always described in masculine terms and is associated with Vulcan. Vesta's fire, however, is always associated with sterility and purity, and so should be understood as having a purificatory significance. W points out that Vesta's fire was used only in the manufacture of ritually necessary items: roasting spelt for mola salsa, baking brine for muries and burning ashes from the fetal cow from the Fordicidia and the tail of the October horse, both of which were used at the Parilia. For other rituals, the Vestals were required to use water, the purificatory substance par excellence, drawn only from the spring of Juturna and carried only in vessels that could not be set down. These restrictions ensured that the water was always fresh, running water that never touched profane earth. Chapters 3-5 trace out the unique position the Vestals occupied in Roman society, arguing that they existed outside the standard Roman familial and other social structures, yet remained fully part of the Roman state. W suggests that the initiation rite of captio removed the new priestess not only from her family but, more importantly, from her family cult, thus avoiding any potential contamination of familial and public cult. Virginity was required for multiple reasons, the most significant being that such a status allowed the priestess to remain a full member of the Roman state, but prevented her from being a member of a traditional family structure. Throughout the book, W makes much of the idea of Vestals as represen tatives of Roman citizen women without ever really dealing with the question to what extent any Roman woman, priestess or not, was a ciuis. Though W is probably correct, it is not entirely certain to what extent women were citizens in the Republic, and at least a reference to some key ancient sources and to recent scholarship on this question should be made (e.g. L. Peppe, Posizione giuridica e ruolo sociale della donna romana in eta repubblicana [Milan, 1984]). The sixth chapter, 'The Vestals in the Romans' History', looks at the appearance of Vestals in the early history of Rome, refining the common assumption that accusations of, and convictions for, incestum arose only in periods of great stress and danger. W adds that a priestess's involvement, or her family's involvement, in one of the groups taking part in the conflict or struggle of the moment also played a role. This chapter traces changes over the course of 300 years in the attitudes of the priestesses and the Romans more generally toward the priesthood, its role in society This content downloaded from 204.235.148.90 on Sat, 26 Jul 2014 11:47:09 AM All use subject to JSTOR Terms and Conditions 214 THE CLASSICAL REVIEW and its requirement of 30 years of chastity. The argument hangs on even less evidence than other sections of the work. In contrast to their central place in W's book, the Vestals play only a small (though crucial, in her interpretation) role in M.'s work. The basic argument of the book is that episodes of Vestal incestum are linked in the historiographic tradition to key moments in the development of the Roman state: the separation of augurium from regnum, the development of a mixed patrician-plebeian aristocracy, the creation of a monetary system and the expansion of the colonial system outside Italy. The history of Rome can be seen as alternating phases of stasis and transformation; instances of Vestal incestum mark the transitions (p. 95). The work falls into two parts that are not well integrated. The first is a useful discussion of the historiography of the Roman Republic, taking in turn each element of the story of the founding of Rome from the arrival of Aeneas to the death of Remus. M. traces how early Roman writers, especially Fabius Pictor, reshaped the tradition already present in some Greek authors, distancing Rome from the Greek world and adding an Italic element to the tale. This detailed analysis is well worth consulting and will be of interest to those working on many aspects of cultural life in the Republic. The second, larger, section of the book comprises a series of studies of the Vestals known to have been convicted of incestum during the Republic. After dealing with issues of dating and sources, M. links each case of incestum to a major event in Roman history. Not all the events are equally important for the creation of the Rome of the middle and late Republic. One wonders why M. chose to tie the conviction of Minucia, somewhere between 339 and 332, to the admission of plebeians to the praetorship in 337 rather than to the conclusion of the Latin War in 338. Some explanation is warranted. The connection M. draws is often very vague, as in the case of Sextilia (pp. 144-54), convicted and interred alive in either 275 or 274. M. sees this as marking the end of any meaningful distinction between patricians and plebeians, following as it does the first time a plebeian censor completed a lustrum. The gap of five or six years between Sextilia's conviction and Cn. Domitius Calvinus Maximus' censorship in 280 passes unremarked. Similarly, in discussing the three Vestals accused of incestum in 114-113 (pp. 188-210), M. steps away from the commonly accepted interpretation of the event as part of the continuing struggle between Gracchan and senatorial forces, arguing instead that it is tied to the establishment in 118 of the colony of Narbo Martius, Rome's first colony in Gaul. Here, as elsewhere, there is no evidence that any ancient author linked the founding of the colony and Vestal unchastity; the temporal gap makes an association even more unlikely. Ultimately, it is not possible to accept M.'s argument that Vestal incestum punctuated key stages in the development of the 'cosmo Romano' in the way she imagines. Even so, M.'s effort to reintegrate the Vestals into the larger narrative of Rome's history is thought-provoking, and it is to be hoped that it will spark further work in the same vein. The field is perhaps in a better position to undertake work on this scale now that we have W's careful and comprehensive collection and interpre tation of what there is to know about the Vestals. Yale University CELIA E. SCHULTZ celia.schultz(yale.edu This content downloaded from 204.235.148.90 on Sat, 26 Jul 2014 11:47:09 AM All use subject to JSTOR Terms and Conditions. (shrink)

The paper, although polemical for the most part, also presents a substantive thesis. The polemical part is directed at the claim that the Platonic Socrates held that philosophy as a practice is to be devoted to the care of self and others, and that the expression of emotion is an important aspect of the philosophic life. To undermine that claim, counter-examples from the autobiographical narrative in the Phaedo and the speeches of Diotima and Alcibiades in the Symposium are brought in. (...) Once analysed at the required depth, those passages show that, on the contrary, Plato's Socrates remains consistently dispassionate both in his life, as he narrates it, and in the views he is made to express in the two dialogues. Rather than promoting self-expression, Socrates never ceased to warn us against misology. (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)

Critical theory has recently charted the rise of an unprecedented wave of social acceleration transforming Western capitalism. Within that body of work, a tendency has emerged to frame this new temporality as a stable structure lacking in the possibility for visions of alternatives, let alone for substantive revolt or challenge. This essay argues that recent struggles like Occupy and 15-M experimented with an alternative, utopian temporality that challenged and disrupted acceleration, revealing the latter to be prone to generating and expanding (...) the conditions of temporal struggle. Acceleration is therefore unstable, and cannot be adequately understood apart from its increasing cultivation of visions of and experiments in other temporalities. (shrink)

Kant's claim that time is a subjective form of intuition was first proposed in his Inaugural Dissertation. This view was immediately criticised by Schultz, Lambert and Mendelssohn. Their criticisms are based on the claim that representations change which implies that change is real. From the reality of change they then argue to the reality of time, which undermines its supposed status as a subjective form of intuition that only applies to appearances. Kant took these criticisms very seriously and attempted (...) to reply to them in § 7 of the Transcendental Aesthetic. This paper provides a critical assessment of the objections raised by Schultz, Lambert and Mendelssohn as well as of Kant's diagnosis and response. In particular, it shows how Kant can consistently hold that knowledge of our mental states is restricted to knowledge of appearances. (shrink)

Vorwort.--Schultz, F. Die philosophisch-weltanschauliche entwicklung der literarhistorischen methode.--Gumbel, H. Dichtung und volkstum.--Cysarz, H. Das periodenprinzip in der literaturwissenschaft.--Petersen, J. Die literarischen generationen.--Medicus, F. Das problem einer vergleichenden geschichte der künste.--Petsch, R. Die analyse des dichtwerkes.--Muschg, W. Das dichterporträt in der literaturgeschichte.--Jung, C. G. Psychologie und dichtung.--Ermatinger, E. Das gesetz in der literaturwissenschaft.--Nadler, J. Das problem der stilgeschichte.--Wundt, M. Literaturwissenschaft und weltanschauungslehre.--Strich, F. Weltliteratur und vergleichende literaturgeschichte.--Sarnetzki, D. H. Literaturwissenschaft und die dichtung und kritik des tages.

This book addresses what it means to teach and learn ethics. While teaching ethics is universally applauded, how one goes about it is much more difficult and contested than is often recognized. The approach of the work is historical, philosophical, and theological. It begins with the historical transformation in the mid nineteenth century by Henry Sidgwick, who rejected establishing ethics on theology or metaphysics. G. E. Moore, John Rawls, Thomas Hurka, Bart Schultz, and Peter Singer later explicitly developed ethics (...) indebted to Sidgwick. However, G. E. M. Anscombe and Philippa Foot's important interventions in modern moral philosophy opened new possibilities for teaching and learning ethics that bear strong resemblances to pre-Sidgwick moral philosophy. The common thread between them is Thomas Aquinas, who had a different understanding of human action than Sidgwick. For Aquinas, Foot, and Anscombe, ethics does not concern a procedure to guide action to what is right or what ought to be, but exists within a metaphysical and theological realm in which the good is more basic than the right. The good is attractive so desire for it is an essential element of the moral life. (shrink)

Πόλεμος πάντων μὲν πατήρ ἐστι War is the father of all. New : Publication of my book : Histoire du libéralisme in Editions Ellipses, on Fnac or Amazon.1) HERACLITUS : 139 Fragments.a) Heraclitus (PDF) Original Greek text : Diels; English translation : John Burnet (1912), French translation of the English translation (1919), in PDFb) Heraclitus (unicode) : Parallel version or Interlinear version (Work in Progress) Original Greek text : Diels; English translation : John Burnet (1912), French translation of the English (...) translation (1919)c) Heraclitus : Original greek text : original pages of Hermann Diels edition (1912)2) The Encyclopædia Britannica Eleventh Edition (1910–1911) : HERACLITUS (Ἡράκλειτος; c. 540-475 B.C.), Greek philosopher, was born at Ephesus of distinguished parentage. Of his early life and education we know nothing; from the contempt with which he spoke of all his fellow-philosophers and of his fellow-citizens as a whole we may gather that he regarded himself as self-taught and a pioneer of wisdom. So intensely aristocratic (hence his nickname ὀχλολοίδορος, "he who rails at the people") was his temperament that he declined to exercise the regal-hieratic office of βασιλεύς which was hereditary in his family, and presented it to his brother. It is probable, however, that he did occasionally intervene in the affairs of the city at the period when the rule of Persia had given place to autonomy; it is said that he compelled the usurper Melancomas to abdicate. From the lonely life he led, and still more from the extreme profundity of his philosophy and his contempt for mankind in general, he was called the "Dark Philosopher" (ὁ σκοτεινός), or the "Weeping Philosopher," in contrast to Democritus, the "Laughing Philosopher." κακοὶ μάρτυρες Heraclitus is in a real sense the founder of metaphysics. Starting from the physical standpoint of the Ionian physicists, he accepted their general idea of the unity of nature, but entirely denied their theory of being. The fundamental uniform fact in nature is constant change (πάντα χωρεῖ καὶ οὐδὲν μένει); everything both is and is not at the same time. He thus arrives at the principle of Relativity; harmony and unity consist in diversity and multiplicity. The senses are "bad witnesses" (κακοὶ μάρτυρες); only the wise man can obtain knowledge. To appreciate the significance of the doctrines of Heraclitus, it must be borne in mind that to Greek philosophy the sharp distinction between subject and object which pervades modern thought was foreign, a consideration which suggests the conclusion that, while it is a great mistake to reckon Heraclitus with the materialistic cosmologists of the Ionic schools, it is, on the other hand, going too far to treat his theory, with Hegel and Lassalle, as one of pure Panlogism. Accordingly, when he denies the reality of Being, and declares Becoming, or eternal flux and change, to be the sole actuality, Heraclitus must be understood to enunciate not only the unreality of the abstract notion of being, except as the correlative of that of not-being, but also the physical doctrine that all phenomena are in a state of continuous transition from non-existence to existence, and vice versa, without either distinguishing these propositions or qualifying them by any reference to the relation of thought to experience. " Every thing is and is not'"; all things are, and nothing remains. So far he is in general agreement with Anaximander (q.v.), but he differs from him in the solution of the problem, disliking, as a poet and a mystic, the primary matter which satisfied the patient researcher, and demanding a more vivid and picturesque element. Naturally he selects fire, according to him the most complete embodiment of the process of Becoming, as the principle of empirical existence, out of which all things, including even the soul, grow by way of a quasi condensation, and into which all things must in course of time be again resolved. But this primordial fire is in itself that divine rational process, the harmony of which constitutes the law of the universe (see LOGOS). Real knowledge consists in comprehending this all-pervading harmony as embodied in the manifold of perception, and the senses are "bad-witnesses," because they apprehend phenomena, not as its manifestation, but as "stiff and dead." In like manner real virtue consists in the subordination of the individual to the laws of this harmony as the universal reason wherein alone true freedom is to be found." The law of things is a law of Reason Universal (λόγος), but most men live as though they had a wisdom of their own." Ethics here stands to sociology in a close relation, similar, in many respects, to that which we find in Hegel and in Comte. For Heraclitus the soul approaches most nearly to perfection when it is most akin to the fiery vapour out of which it was originally created, and as this is most so in death, " while we live our souls are dead in us, but when we die our souls are restored to life." The doctrine of immortality comes prominently forward in his ethics, but whether this must not be reckoned with the figurative accommodation to the popular theology of Greece which pervades his ethical teaching, is very doubtful. The school of disciples founded by Heraclitus flourished for long after his death, the chief exponent of his teaching being Cratylus. A good deal of the information in regard to his doctrines has been gathered from the later Greek philosophy, which was deeply influenced by it. BIBLIOGRAPHY.—The only authentic extant work of Heraclitus is the περὶ φύσεως. The best edition (containing also the probably spurious Ἐπιστολαί) is that of I. Bywater, Heracliti Ephesii reliquiae (Oxford, 1877); of the epistles alone by A. Westermann (Leipzig, 1857). See also in A. H. Ritter and L. Preller's Historia philosophiae Graecae (8th ed. by E. Wellmann, 1898); F. W. A. Mullach, Fragm. philos. Graec. (Paris, 1860); A. Fairbanks, The First Philosophers of Greece (1898); H. Diels, Heraklit von Ephesus (2nd ed., 1909), Greek and German. English translation of By water's edition with introduction by G. T. W. Patrick (Baltimore, 1889). For criticism see, in addition to the histories of philosophy, F. Lassalle, Die Philosophie Herakleitos' des Dunklen (Berlin, 1858; 2nd ed., 1892), which, however, is too strongly dominated by modern Hegelianism; Paul Schuster, Heraklit von Ephesus (Leipzig, 1873); J. Bernays, Die heraklitischen Briefe (Berlin, 1869); T. Gomperz, Zu Heraclits Lehre und den Uberresten seines Werkes (Vienna, 1887), and in his Greek Thinkers (English translation, L. Magnus, vol. i. 1901); J. Burnet, Early Greek Philosophy (1892); A. Patin, Heraklits Einheitslehre (Leipzig, 1886); E. Pfleiderer, Die Philosophie des Heraklit us von Ephesus im Lichte der Mysterienidee (Berlin, 1886); G. T. Schäfer, Die Philosophie des Heraklit von Ephesus und die moderne Heraklilforschung (Leipzig, 1902); Wolfgang Schultz, Studien zur antiken Kultur, i.; Pythagoras und Heraklit (Leipzig, 1905); O. Spengler, Heraklit. Eine Studie ilber den energetischen Grundgedanken seiner Philosophie (Halle, 1904); A. Brieger, "Die Grundzüge der heraklitischen Physik " in Hermes, xxxix. (1904) 182-223, and "Heraklit der Dunkle" in Neue Jahrb. f. das klass. Altertum (1904), p. 687. For his place in the development of early philosophy see also articles IONIAN SCHOOL OF PHILOSOPHY and LOGOS. Ancient authorities: Diog. Laert. ix.; Sext. Empiric, Adv. mathem. vii. 126, 127, 133; Plato, Cratylus, 402 A and Theaetetus, 152 E; Plutarch, Isis and Osiris, 45, 48; Arist. Nic. Eth. vii. 3, 4; Clement of Alexandria, Stromata, v. 599, 603 (ed. Paris). (J. M. M.) Copyright. (shrink)

«Theologicis et Philosophicis doctrinis, ex ipsa Iuris et lustititiae, nec non Prudentiae, aliarumque Virtutum Moralium Natura desumptis, compendiario illustratus et sub auspiciis lUustrissimi Domini D. Georgii de Lubomir L U B O M I R S K I, Comitis in Visnicz et Jaroslaw: Poloniarum Archimarschalci, et Regni Exercituum Ducis, nec non Generalis Cracoviae: et Casimiriensis, Olstinensis, Chmielnicensis, Nizinensis etc. etc. Capitanei. Publicae Disputantium concertationi propositus ab Alexandro J a s k m a n i c k i, sacrae Theologiae auditore. (...) In Cardinalitio Hosiano Collegio Societatis Jesu. Anno ab Homine Deo nato. M.DC.LXIV [1664]. Brunsbergae, Typis Henrici Schultz». En habes, Benevolo Lector, plenum titulum libri, qui hie nostram movet attentionem. Primum Auctoris biographia traditur, deinde de eiusdem operis dedicatione sermo est, postea vero ipsa eins politica et socialis doctrina explicatur et commentatur. (shrink)

«Theologicis et Philosophicis doctrinis, ex ipsa Iuris et lustititiae, nec non Prudentiae, aliarumque Virtutum Moralium Natura desumptis, compendiario illustratus et sub auspiciis lUustrissimi Domini D. Georgii de Lubomir L U B O M I R S K I, Comitis in Visnicz et Jaroslaw: Poloniarum Archimarschalci, et Regni Exercituum Ducis, nec non Generalis Cracoviae: et Casimiriensis, Olstinensis, Chmielnicensis, Nizinensis etc. etc. Capitanei. Publicae Disputantium concertationi propositus ab Alexandro J a s k m a n i c k i, sacrae Theologiae auditore. (...) In Cardinalitio Hosiano Collegio Societatis Jesu. Anno ab Homine Deo nato. M.DC.LXIV [1664]. Brunsbergae, Typis Henrici Schultz». En habes, Benevolo Lector, plenum titulum libri, qui hie nostram movet attentionem. Primum Auctoris biographia traditur, deinde de eiusdem operis dedicatione sermo est, postea vero ipsa eins politica et socialis doctrina explicatur et commentatur. (shrink)

Each thing is fundamental. Not only is no thing any more or less real than any other, but no thing is prior to another in any robust ontological sense. Thus, no thing can explain the very existence of another, nor account for how another is what it is. I reach this surprising conclusion by undermining two important positions in contemporary metaphysics: hylomorphism and hierarchical views employing so-called building relations, such as grounding. The paper has three main parts. First, I observe (...) hylomorphism is alleged by its proponents to solve various philosophical problems. However, I demonstrate, in light of a compelling account of explanation, that these problems are actually demands to explain what cannot be but inexplicable. Second, I show how my argument against hylomorphism illuminates an account of the essence of a thing, thereby providing insight into what it is to exist. This indicates what a thing, in the most general sense, must be and a correlative account of the structure in reality. Third, I argue that this account of structure is incompatible not only with hylomorphism, but also with any hierarchical view of reality. Although hylomorphism and the latter views are quite different, representing distinct philosophical traditions, I maintain they share untenable accounts of structure and fundamentality and so should be rejected on the same grounds. (shrink)

The general concept of mental disorder specified in the fifth edition of the Diagnostic and Statistical Manual of Mental Disorders is definitional in character: a mental disorder might be identified with a harmful dysfunction. The manual also contains the explicit claim that each individual mental disorder should meet the requirements posed by the definition. The aim of this article is two-fold. First, we shall analyze the definition of the superordinate concept of mental disorder to better understand what necessary criteria actually (...) characterize such a concept. Second, we shall consider the concepts of some individual mental disorders and show that they are in tension with the definition of the superordinate concept, taking pyromania and narcissistic personality disorder as case studies. Our main point is that an unexplained and not-operationalized dysfunction requirement that is included in the general definition, while being systematically violated by the diagnostic criteria of specific mental disorders, is a logical error. Then, either we unpack and operationalize the dysfunction requirement, and include explicit diagnostic criteria that can actually meet it, or we simply drop it. (shrink)

carrington places race and racism at the center of his densely written analysis of science fiction, fantasy, utopia, and other forms of popular culture. He moves easily between a broad range of forms, which include memoirs, television series, comic books, novels, novelizations, fandom and fanzines, and short fiction and fiction circulated on the Internet. Popular culture helps us to construct notions of identity and race, and for carrington many constituent groups, notably fans, develop its key concepts and values.Speculative fiction is (...) for carrington a framework that links these various forms of popular culture. Here, SF is a genre different from literature, as it is situated closer to, and is more deeply... (shrink)