Interpreters of futurism are often fascinated by its most violent and misogynistic aspects, ignoring its other sides, and the liberatory effect that its attack on bourgeois values had on a considerable number of women. Yet one of the elements which make the complexity of futurism evident is the substantial participation of women in it. Valentine de Saint-Point, Enif Robert, Maria Ginanni, Irma Valeria, Rosa Ros , and Benedetta (Marinetti's wife) were inspired by its groundbreaking, transgressive energy. As futurist writers and (...) artists they contributed to alter and enrich the movement and its language, countering its misogyny, and taking futurism in different directions. Mina Loy, one of the greatest and most influential among the experimental writers of the twentieth century, was inspired by futurism to seek her personal and intellectual liberation as a futurist-feminist woman, and started out her literary career essentially as a futurist poet and iconoclast. Her work, although written in English (a language that Marinetti did not know), is some of the best and most interesting in the literary history of futurism. (shrink)

Drawing on many areas of expertise, from paleontology to psychology, Tomasello offers a plausible, evolutionary story abouthow our ancestors are likely to have developed cooperative behaviors and collaborative lifeways in order to survive and thrive.He also claims that this narrative explains why they would have begun to think in characteristically cooperative and moral ways,developing a “we is greater than me” [we>me] psychological orientation. Do the arguments offered support this extra claim? Thisarticle suggests that they do not. It seeks to alleviate (...) this shortcoming by drawing upon some conceptual resources offered bySartre’s Theory of Practical Ensembles. The centerpiece of the article consists of a detailed analysis of Sartre’s account of the genesisof the “group-in-fusion,” seeking to show that the genesis of a we-way of thinking in a group made up of many requires themediation of what Sartre calls a “third party” (le tiers). After closely examining Sartre’s treatment of the “third party” in theapocalyptic genesis of the “group-in-fusion,” I evaluate the success of this notion in resolving those questions that Tomasello’saccount raises while, at the same time, addressing the ontological question concerning the nature of the individual-grouprelation, in a way that suggests new and significant alternatives to standard dilemmas in contemporary social philosophy. (shrink)

Resumen Este artículo intentará contribuir a la discusión teórica y filosófica política sobre la emancipación y la democracia en base a la producción intelectual reciente de Étienne Balibar y Jacques Rancière. Las nociones con las que ambos autores acompañan la idea de emancipación, por una parte, iluminan sobre otros modos posibles de pensar la política, las luchas y la transformación, y, por otra parte, permiten re-significar la filosofía y la política, así como la inclusión de la igualdad radical entre los (...) seres hablantes en el centro de la disputa teórica y política.This article will attempt to contribute to the theoretical and philosophical political discussion on emancipation and democracy based on the recent intellectual production of Étienne Balibar and Jacques Rancière. The notions with which both authors accompany the idea of emancipation, on the one hand, illuminate on other possible ways of thinking about politics, struggles and transformation, and, on the other hand, allow us to re-signify philosophy and politics, thus as the inclusion of radical equality between speaking beings at the center of the theoretical and political dispute. (shrink)

The rise of the idea of the Anthropocene is promoting multiple reflections on its meaning. As we consider entering this new geological epoch, we realize the pervasiveness of humankind’s deconstruction and reconstruction of the Earth, in both geophysical and discursive terms. As the body of the Earth is marked and reshaped, so is its idea. From a hostile territory to be subjugated and exploited through sovereign commands, the Earth is now reframed as a vulnerable domain in need of protection. The (...) mode of sovereignty, which has accompanied human and legal history and practice during modernity and its project of mastery, is no longer useful. Humanity’s control of the Earth is being reimagined and reconfigured along biopolitical coordinates of thought and action. Biopolitics shifts the focus of power, changes its modalities of interventions, and rearticulates its legitimacy on the idea of taking responsibility for the Earth, for nature. A biopolitical re-orientation of law captures the fundamental aim of caring for nature, of fostering its vital possibilities and of enhancing its productive potential. Yet, biopolitics engulfs nature in its entirety under its framework of control, where protection and subjugation, vulnerability and productivity, life and death are constantly entangled in a reciprocal and inevitable relation of indistinguishability. Sovereignty becomes thus a key modality of biopolitical intervention, when nature is recalcitrant, wild, spontaneous, unpredictable, violent, dangerous. Biopolitics, thus, remains caught in an undecidable dilemma, where in order to protect the Earth, it must subjugate it; to save it, it must condemn it. In this respect, biopolitics remains utterly modern, or as argued by Roberto Esposito, modernity has always been biopolitical, insofar as modernity has emerged as a framework for the protection of life against life’s own excesses. But how can we escape the biopolitical reframing and enframing of the Earth and its total subsumption under its matrix of control? How can we rethink the encounter between law and nature without remaining entangled in the aporetic dilemma of biopolitics? An aesthetics of wonder may offer a way. (shrink)

As the recent edition of the Wittgenstein’s Whewell’s Court Lectures shows, Wittgenstein mentioned Hume several times in the series of lectures on belief. Towards the end of the Thirties, in fact, he came across Hume’s Abstract of the Treatise, a pamphlet that Piero Sraffa and John Maynard Keynes had ‘discovered’ at the end of 1933, re-edited in 1937 and finally published in March 1938 – Sraffa, with whom Wittgenstein had an intense intercourse in 1938-1941, donated him a copy. A lexical (...) analysis of excerpts of Wittgenstein’s ET 1940 lectures strongly suggests that he read the Abstract in March-May 1940, and shows that some of the issues he discussed in his lectures at that time revolve around the peculiar definition that Hume gave in that text of the feeling of belief. (shrink)

This book explores when, and using what means, global political actors are morally justified in promoting their own ideas of justice in foreign societies. It develops ethical principles we can use to judge when such activities (“reform interventions”) are justified. In so doing, it re-conceives the traditional boundaries of politics and lays the foundation for a politically-engaged cosmopolitanism.

The structure as well as the themes of theSymposiumsuggest that Eryximachus’ speech plays a fundamental role in the dialogue. The problem is that what he says in praise of love is far from clear and continues to be a subject of debate. The aim of our article is to re-examine this speech to clarify its meaning and determine its contribution to Plato’s theory of love. First, we will analyse thetextof theSymposium, then we will investigate itsmedicalback-ground, and finally we will evaluate (...) itsphilosophicalimpact. We will argue that Eryximachus’ speech, which draws inspiration from the Hippocratic Collection and the Pre-Socratic thought, is based on the concept of ‘harmony’: a balanced and organised unity of opposites. According to Eryximachus, love – conceived of as harmony – is the key to thehealthand thevirtueof human beings, as well as to the cosmic order and justice. Thereby the specificity of Eryximachus’ speech will become clear: Plato tries to combinescienceandmoralityby proposing, among other things, some considerations onbioethics. (shrink)

_Contributions to Law, Philosophy and Ecology: Exploring Re-Embodiments_ is a preliminary contribution to the establishment of re-embodiments as a theoretical strand within legal and ecological theory and philosophy. Re-embodiments are all those contemporary practices and processes that exceed the epistemic horizon of modernity. As such, they offer a plurality of alternative modes of theory and practice that seek to counteract the ecocidal tendencies of the Anthropocene. The collection is comprised of eleven contributions approaching re-embodiments from a multiplicity of fields, including (...) legal theory, eco-philosophy, eco-feminism and anthropology. The contributions are organized in three parts, ‘Beyond Modernity, ‘The Sacred Dimension’ and ‘The Legal Dimension’. The collection is opened by a comprehensive introduction that situates re-embodiments in theoretical context. Whilst closely bound with embodiment and new materialist theory, this book_ _contributes a unique voice that echoes diverse political processes contemporaneous to our times. Written in an elegant and accessible language, the book will appeal to undergraduates, postgraduates and established scholars alike seeking to understand and take re-embodiments further, both politically and theoretically. (shrink)

This book arises from a three-year study of Preventive Justice directed by Professor Andrew Ashworth and Professor Lucia Zedner at the University of Oxford. The study seeks to develop an account of the principles and values that should guide and limit the state's use of preventive techniques that involve coercion against the individual. States today are increasingly using criminal law or criminal law-like tools to try to prevent or reduce the risk of anticipated future harm. Such measures include criminalizing (...) conduct at an early stage in order to allow authorities to intervene; incapacitating suspected future wrongdoers; and imposing extended sentences or indefinate on past wrongdoers on the basis of their predicted future conduct - all in the name of public protection and security. The chief justification for the state's use of coercion is protecting the public from harm. Although the rationales and justifications of state punishment have been explored extensively, the scope, limits and principles of preventive justice have attracted little doctrinal or conceptual analysis. This book re-assesses the foundations for the range of coercive measures that states now take in the name of prevention and public protection, focussing particularly on coercive measures involving deprivation of liberty. It examines whether these measures are justified, whether they distort the proper boundaries between criminal and civil law, or whether they signal a larger change in the architecture of security. In so doing, it sets out to establish a framework for what we call 'Preventive Justice'. (shrink)

La propuesta de esta narrativa es, por un lado, exponer una forma posible de la experiencia de dar talleres de filosofía por fuera del espacio académico y, por otro lado, acercar la experiencia particular del taller Filosofía y Poesía, a través de consideraciones en torno al abordaje de la noción de ‘sujeto’. Este taller surge a partir de la necesidad de armar un espacio de experimentación en torno a una subjetividad que aparece en/a través de la escritura, al cual lo (...) convoca dar una respuesta posible a la búsqueda de un hábitat propicio para pensar en torno al ‘sujeto’, teniendo que preguntarnos, inevitablemente, quién es aquel de quien estamos hablando e inclusive quién es ‘yo’. Echando mano de producciones de Audre Lorde, Gloria Anzaldúa, val flores, entre otres, pretendemos, además de contextualizar los modos de nuestro hacer en su carácter compartido, brindar materiales para pensar/nos y pensar una vinculación posible entre Filosofía y Poesía como disparador de otro pensar, de un pensar poético. (shrink)

En el presente trabajo abordamos actuaciones administrativas enmarcadas en la Dirección de Espectáculos Públicos (DEP) de la Municipalidad de Córdoba. Particularmente, nos preguntamos por los sujetos encargados de implementar las políticas de esta dirección (inspectores) y la formación que adquieren para el ejercicio de prácticas administrativas de control y fiscalización de “casas de fiestas infantiles” y locales de diversión nocturna (bares, discotecas, bailes). Las preguntas que guían el análisis son las siguientes: ¿Cómo se adquieren los conocimientos necesarios para “ser inspector (...) municipal” y cuáles son los escenarios y modalidades de transmisión? ¿Cuáles son los saberes que circulan, se movilizan y son (re)apropiados en esos espacios? Y, finalmente, ¿qué sujetos se construyen en estos procesos (“inspectores”, “especialistas”, “capacitadores”)? Como fuente de reflexión empírica, consideramos actuaciones administrativas que tienen lugar en la DEP, junto con los cursos de capacitación en “Inspectoría General” ofrecidos a los agentes municipales que se desempeñan en aquella Dirección. Los materiales utilizados en el análisis provienen de registros de observaciones participantes realizadas en la DEP, en un curso de capacitación, y entrevistas a funcionarios e inspectores municipales. Las argumentaciones vertidas a lo largo del artículo pretenden contribuir al estudio de los procesos de formación continua del Estado municipal cordobés, a partir de una indagación etnográfica en torno a actuaciones administrativas y formas de transmisión de conocimientos para determinados ejercicios de poder estatal. (shrink)

Este artigo tem como objetivo discutir os principais resultados apresentados pelas pesquisas “Relações étnico-raciais e de gênero no contexto das práticas pedagógicas: escrevivências e invenções na educação básica” e a pesquisa “Ensino de História e Cultura Afro-brasileira, Africana e Identidade: desafios e implicações nas Práticas pedagógicas”[1]. Dialogamos com os métodos adotados nas pesquisas, a etnoescrevivência e a pesquisa ação colaborativa, tomando os Ateliês de Pesquisa como dispositivo de construção de dados e intervenção, que possibilitou a construção de um movimento formativo (...) e coautoral, pautado na colaboração e na reflexão sobre a prática. As discussões teóricas dialogam principalmente com hooks ; Lima ; Pimenta ; Silva e Costa e outros/as autores/as. Os resultados apontaram que ao tomar como centralidade as narrativas da experiência docente e suas histórias de vida no entrelace do desenvolvimento profissional, os APs provocaram deslocamentos nos processos formativos com os temas raça e gênero, produzindo reflexão e alteração nas práticas pedagógicas. Demonstraram ainda, que não basta ser colaborador da pesquisa para que a cocriação e coautoria se estabeleçam, é fundamental que o ethos da confiança, a relação ética e horizontal seja construída ao longo do processo, haja vista que o modus operandi dos Ateliês de Pesquisa prima pela horizontalidade, invenção e experiência ancoradas no real do cotidiano escolar como propulsoras da produção do conhecimento pedagógico considerado como conhecimento científico do campo da docência. (shrink)

Recent years have seen mounting challenge to the model of the criminal trial on the grounds it is not cost-effective, not preventive, not necessary, not appropriate, or not effective. These challenges have led to changes in the scope of the criminal law, in criminal procedure, and in the nature and use of criminal trials. These changes include greater use of diversion, of fixed penalties, of summary trials, of hybrid civil–criminal processes, of strict liability, of incentives to plead guilty, and of (...) preventive orders. The paper will assess the implications of these changes for the function of the criminal law, assessing the reasons behind them, and examining whether or not they are to be welcomed. Identifying the larger import of these changes draws attention to the changing relationship between state and citizen as well as changes in the nature of the state itself. These can in turn be attributed to a jostling among the different manifestations of the authoritarian state, the preventive state, and the regulatory state. These changes have profound normative implications for a liberal theory of the criminal law that require its re-articulation and its defence. A modest start may be to insist that where the conduct is criminal and the consequences are punitive the protections of criminal procedure and trial must be upheld. (shrink)

This open-ended anthology is a journey into the very canon that Mary Daly has argued to be patriarchal and demeaning to women. This volume deauthorizes the official canon of Western philosophy and disrupts a related story told by some feminists who claim that Daly’s work is unworthy of re-reading because it contains fatal errors. The editors and contributors attempt to prove that Mary Daly is located in the Western intellectual tradition. Daly may be highly critical of conventional Western epistemological and (...) theological traditions, but she nevertheless appropriates themes “out-of-context” for the building of her own systematic philosophy. The following are just a few of the many themes explored in this volume: • the question of subjectivity understood as an ongoing process of be-coming • the ambiguity of the need for feminists of colonial nations to speak out about violence against women in other parts of the world while that speaking carries with it the stamp of a colonial location • the territoriality of lesbian and women’s space • the theological dimensions of twentieth-century Western philosophy. Contributors are Wanda Warren Berry, Purushottama Bilimoria, Debra Campbell, Molly Dragiewicz, Frances Gray, Amber L. Katherine, AnaLouise Keating, Anne-Marie Korte, María Lugones, Geraldine Moane, Sheilagh A. Mogford, Laurel C. Schneider, Renuka Sharma, and Marja Suhonen. (shrink)

Since 2008 I have been closely following the conceptual/performance/video work of Daniel Peltz. Gently rendered through media installation, ethnographic, and performance strategies, Peltz’s work reverently and warmly engages the inner workings of social systems, leaving elegant rips and tears in any given socio/cultural quilt. He engages readymades (of social and media constructions) and uses what are identified as interruptionist/interventionist strategies to disrupt parts of an existing social system, thus allowing for something other to emerge. Like the stereoscope that requires two (...) identical images to create an illusion of a three-dimensional image, Peltz sometimes visualizes two separate elements to create an object or moment that requires space and depth to focus on its varied layers. They say your brain has to process and make meaningful sense out of all that visual information before it can accept the illusion. I say your brain has to do a similar thing when looking and seeing the divine, magical, and faithful (social) art making of Daniel Peltz. Daniel Peltz is Associate Professor of Film/Animation/Video at RISD. He divides his time between Rhode Island and Sweden and is currently at work on an exhibition at Botkyrka Konsthall, Stockholm opening February 2013 and a new project to be included in the IASKA: Spaced Biennial (Australia) in 2014. This interview took place on Skype and is part one of a two-part interview. Feliz Lucia Molina: Are you in Providence, RI? Daniel Peltz: I’m at my house in Providence. I’ve been back for six days teaching winter session at RISD and doing this workshop series—these investors’ drum circles with a group of wealth managers. a client of the firm, 2013, photo Shirin Adhami FLM: The wealth managers were all drumming together? DP: They were all drumming in response to the performance of their retirement portfolios. FLM: Is this part of the “Unrealized Gain/Loss” piece? DP: Yes, it’s part of a show I’m working on in Sweden. I can show you because it was just today. I’ll show you some of this. Lets see—share screen [click, click, click]. This is the room. I’ve been using the camera system that’s already installed in the conference rooms to record them. So the video is being recorded directly by the wealth management office’s tech staff. These are the people I worked with in the last workshop. This conference table is less wondrous. They’ve been learning to drum in response to their retirement portfolios. I started by bringing in my little bit of wealth for them to propose a management strategy, I came to the follow-up meeting with a counter proposal, which was this workshop. So they agreed to do this series of workshops instead of managing my wealth. FLM: Does everybody in the room manage your wealth? That’s kind of a lot of people. DP: That woman in the back there and Craig —they handle new client business. So when you come there with your wealth, they sit down with you and suggest to you how they would manage it. They’re very nice, responsible people. FLM: And where is this? DP: This is in Providence and the one I was showing you is in Waltham, where I was today. Then I’m going to Newport for the last one on Friday. So I will have done four of them. This is the group in Waltham that I just played with today. I played directly with the two groups in Providence and I’m working with an ethnomusicologist at Brown, Asha Tamarisa, who is facilitating the last two. She’s helped develop the workshop in terms of figuring out how to train a group to do this and thinking about the compositional challenges of working in response to retirement portfolio data. FLM: Screensharing helps me to figure out tiny bits here and there about the project. DP: I might even be able to play you a little of the audio I’ve also been working with a group of professional percussionists on what will become a quarterly public investors’ drum circle event. Their stuff was really nice, but I want you to hear what we sounded like in the workshops. They’ve all been recorded by the a/v system in the offices. We use a simple structure where the drummer investors interpret the sensation of gain or loss as embellishments to a base heartbeat rhythm. The group holds the heartbeat and, as each person experiences gain or loss, they embellish that rhythm. "Screensharing helps me to figure out tiny bits here and there about the project" FLM: Is the process all very spontaneous? DP: Its actually quite structured. We produce a custom stock ticker that shows the performance of their collective portfolios. In advance of the workshop each participant submits assets in their retirement portfolio. Then we make a stock ticker that shows the real-time performance of their assets so that they can respond to almost live data. FLM: Are they reading the stock ticker projected up on the screen in the room? Do people drum in correspondence to the visual live data of the performance of their assets? DP: Exactly. They’re looking at the stock ticker as opposed to each other, so it’s a slightly shifted drum circle. They’re looking at the ticker but they’re listening to each other—that’s what we’re practicing. For example, NVO—the price is 172.08 but it’s down -1.16 and as that moves across the screen, the person who’s retirement is invested in that asset starts to embellish when that arrow first appears, based on their experience of loss. They stop when it exits the screen and return to the heartbeat. You could have one ticker for each retirement portfolio, but the way the workshop is constructed is that we just isolate one asset from each person’s portfolio so that everyone in the group is represented in a single ticker. So they’re drumming and looking at the ticker, but they’re hearing each other experience gain and loss. We’ve removed direct visual engagement from the social structure of a drum circle but the oral engagement is still there. FLM: So they had their own sound interpretation of gain and loss? DP: Yeah and that part is quite spontaneous as you were saying. In some of the preparatory exercises we’ve been working to give the participants more strategies for interpreting the sensations of gain and loss. We’re trying to develop their capacity to embellish a heartbeat or base rhythm but I’m not invested in having a melodious result. I’m quite curious about what this kind of structure will result in without any desire for a particular result. FLM: For context, can you talk about the project you did a couple years ago in Bali, “Unrealized Gain/Loss” in relation to this current wealth management project? DP: The workshops I’ve been doing use a similar strategy to the other components in this project. It started in Indonesia on my sabbatical and I was really trying to understand where I was physically and where I was being on sabbatical—this kind of strange jubilee structure where every seventh year you’re supposed to renew your self. And it was around the time of the global financial crisis. I was on sabbatical for the global financial crisis. I remember watching my father, in particular, respond to the financial crisis by monitoring his retirement portfolio and trying to make sense of it. I realized on a visit to their home that he checked his retirement portfolio every single day and I was really struck by that because in some way our parents are mysteries to us as children, especially their moods. We know how important their moods are but we don’t know what governs them. And somehow it was like I’d figured it out, it’s the performance of the DOW! So I think there was something in that. Then I was in Indonesia and I had been drawn there by an interest in their highly ritualized Hindu culture, where so much of life is driven by a ceremonial calendar. I was interested in Bali as this predominantly Hindu pocket within a predominantly Islamic country and life there being organized by this ritual calendar functioning as a kind of resistance to the dominant global religion of free-market capitalism. So I started to explore that correlation between the ways in which this culture that I was living in was sort of “living for the afterlife” and this idea within certain segments of American society of “living for the afterwork life”. The idea that your wellbeing in the “afterwork life” is tied to forces that are unseen and largely beyond your control has strong similarities to many religious understandings of the universe. So I started to explore that and the crafts and materials that were around me were primarily Batik and percussion. Percussion is a huge part of daily life in Bali. These gamelan troupes were everywhere. And I also happened to be there for Nyepi, the day of silence, which is preceded by a very elaborate procession and construction of demonic statues. These were the things that were around me and I started studying Batik with one of the Batik artists there and also started a conversation with two master Batik artists, one who is American and her Indonesian husband. I developed these patterns that were based on symbols from the performance of my retirement portfolio and worked with the batik artists to produce two sarongs. d. peltz - 2012 In producing the designs, I treated the performance of my retirement portfolio since my arrival at RISD [7 years] as a significant interval and then I looked at the ways in which decisions are made within retirement portfolios as having an extension outwards from the individual assets that underlie the retirement portfolio, which are kind of like the base elements of the retirement world. Then there’s the allocation of your assets, which is a global way of understanding an individual according to typologies, which are often referred to in terms of risk—this notion of a ‘risk profile’. What type of ‘person’ you are is determined by your attitude towards risk, or potentiality, and I found that to be a really fascinating way of understanding the universe. I remember looking at the tabs in my retirement portfolio and finding this one for viewing ‘Unrealized Gain/Loss’ and that’s often how I work—is just going through the Cambridge Parking Code, for example, and finding this section of the code that was called ‘Crossing Non-Signalized Locations’ and just feeling “I can’t do any better than that,” you know? That’s what I was talking about in terms of ready-mades that exist in the social sphere. So I found that tab, actually, a long time ago, and I pulled it out of a journal when I was there [in Bali] working on these pieces and I wound up making these two sarongs and later on a series of porcelain vessels for holding one’s unrealized gains and losses. At the time, I knew that I wanted a performance to come out of them, but I wasn’t sure what it was. I was inspired very much by this sort of thing: Pulls out a TIAA-CREF brochure with a man in a suit seated at a table. This guy is probably an actor, and [the brochure] says “TIAA-Cref announces “Individual counseling sessions at the Rhode Island School of Design. Individual counseling sessions at no additional cost to you. You can discuss your personal financial situation with an experienced TIAA consultant on a confidential basis. We are available to help you discuss how to achieve your financial goals by investing in financial solutions such as mutual funds, brokerage, life insurance, and annuities...etc....What retirement benefits best fits your situation?” Often I encounter this and I think O.K., this is one way to prepare for the after-work life and it seems inadequate to me. But, I also find it really inspiring. I really like the visual language of it. I kind of want to be that man. I’d like to see if I could maybe buy his clothes. FLM: What it is about the man on the brochure that interests you? DP: He’s offering personalized objective advice and a detailed evaluation of everything you need to know and do. Who wouldn’t want that? But he’s also something of a contemporary priest or priestess, mediating between the unseen all-powerful universe of global capitalism and the common worker. So I started off developing Unrealized Gain/Loss directly from the charts that represent the performance of my retirement portfolio. Then I came home and I wanted to use those. I had this word in my journal “unrealized gain/loss vessel.” I had this notion of vessels that would contain unrealized gains and losses. That felt really important to me that they would have somewhere to go. I had been thinking a lot about altars and making offerings—that somehow this really fickle, massive, difficult-to-comprehend-universe of the financial world—that somehow it might be nice if you could making an offering to it. [In Bali] they made such beautiful elaborate offerings. So I studied offering making as well with one of the women there and she taught me some of the standard forms created by folding leaves and the significance of the floral arrangements. I started working in clay and then moved to porcelain and I made these unrealized gain/loss vessels. I made a few of them, they have holes on either side that you can’t get your fingers in. But something can go in there and something can go out of there. It’s a nice size for putting on an altar. Then I got this commission from Artists in Context who was interested in my doing something for this project “Artists Perspectives for the Nation” project. I proposed initiating these investors’ drum circles as a new public performance form. I’m interested in bringing together those two symbols—the symbol of the djembe and the drum circle. unrealized gain/loss vessel - d.peltz - 2012 FLM: I can imagine the public digital stock ticker performing like a soft fleeting stream of information, a kind of (meaningless) illusory comfort blanket. DP: In some way you have to understand its relevance outside of the obvious, right? Because the obvious is illogical. Nobody is actually using that data to day trade, for example. People aren’t sitting there with their computers watching the market data in Times Square or setting up an outdoor office and being like “OK it’s up 3 points or it’s up 1.56, trade! Ok now buy, Ok now sell!” That would be a kind of a nice performance, actually. But actual day traders would want more up to date data than that. To understand what that data is doing is really important. And that’s something I’ve realized—that I’m interested in a particular kind of data visualization, which is not about what data can tell people, but what data can tell people who are visualizing it. For example, in the Cambridge Project “Crossing Non-Signalized Locations” I was interested in the 10,000 excuses archive of data recording five years worth of excuses for why people thought they shouldn’t have received their parking ticket. I was not interested in making that excuse wall so that the public could see and understand this data. Inevitably the data will be seen by others but I was really interested in what the action of visualizing the data told those who were visualizing it. The parking attendants themselves were writing those excuses on the wall—I was interested in what that kind action of writing the excuses on the wall told them about the data. Similarly, I’m interested in designing a way to allow people to pass this data from the unseen universe of the market, through their own bodies, which happens through the merging of the drum and the stock ticker. I’m interested in those two also as symbols; the drum as this symbol of the earth, the body and a pagan counterculture, and the stock ticker referring to the ethereal world of global markets—bringing those two together and making them dependent. I’m often drawn to conceptual propositions that I become invested in testing in a sincere way—at first they often they sound humorous to others, but I have to remember that there is humor in them. I don’t sit around and laugh about these things. I stop finding them funny at all. I’m interested in the proposition that we could know something about the after-work life by drumming in response to our retirement portfolio. So then I become really interested in how to craft that into a viable performance form for myself and others. FLM: The aspect of using sound in “Unrealized Gain/Loss” as a way of embodying the information to the asset holder is really intriguing—using sound as a means of embodying the asset data. Was sound a medium that made sense to use immediately or were you considering other means of attempting to embody it? DP: Well I do use other mediums within the project like textile, ceramic, and batik patterns. I was first drawn to the history of Batik patterns as a socio-economic stratification system and the vessels as a way of embodying or manifesting this data of unrealized gain and loss. My first approach was to work with meditation actually—a meditation workshop with my colleagues. I was going to offer this “Unrealized Gain/Loss” workshop where you would explore the sensations of gain and loss by adapting the way yogi-nidra brings you into contact with your physical surroundings and stretches your perception. FLM: At Naropa University there are/were business & compassion workshops—a sort of mash-up of business and compassion and how compassion could be incorporated into a business model. This process and engagement of “embodying data” also has to do with “Participatory Democracy and the Future of Karaoke” you created at the DNC in Denver in 2008. DP: That kind of appropriation and instrumentalization of spiritual practice could be disturbing and thus compelling as a strategy. For various reasons, I’ve come to be drawn to both the form of a quarterly public performance and the established performance form of a drum circle. Its something I’ve seen myself do before, that is to mess up a really good functional social system like a drum circle or karaoke. I remember I was developing language for the karaoke project and started calling it “Participatory Democracy and the Future of Karaoke” and one of my assistants on the project, who’s an incredible artist, said, “but don’t you think the future of karaoke is guitar hero?” and I realized that maybe he thought I was trying to improve the form. I’m just trying to get people to have this shifted embodied experience, I need to craft the performance context so that they can do that. In the case of the karaoke project, for example, what did I need in order to be able to do this [a person to stand up in front of a bar and deliver a karaoke speech]? I realized that the body is very vulnerable so I built a podium so that the speaker can feel secure enough to do this, otherwise you couldn’t get to this state achieved by passing these speeches through the body. Then I was, like, well you need to be able to practice the lyrics because you don’t know all the “songs” by heart, which became an insert to the massive track books carried by most karaoke VJs. And then sometimes the crowd in the bar isn’t there with me, so I needed to extract the voice of the crowd cheering from the original venue and I needed the local audience to cheer if they wanted to. I’m interested in both where the form succeeds and fails. In particular, one of the most interesting things is this auditory gap between the space where you are, the reduced scale of applause in your own little bar, and this grand scale of applause at the convention center where the speech was originally delivered. FLM: How did the concept of “Participatory Democracy Karaoke” come about and why did you use karaoke as a means of engaging what was happening at the DNC in 2008? DP: I was looking at a lot of different readymade media infrastructures within the city at the time. I was interested in the emergency broadcast systems and I developed a proposal to repurpose that system and karaoke became an important symbol because it was this populist form that was already engaged in exploring the sensation of celebrity but also visualizing the gap between ourselves and those with more power and influence. So it had this readymade capacity to play with power and celebrity and I felt like the Obama presidential campaign, the first one in particular, had some very curious overlaps with this culture of celebrity. Obama of course rose to power partly based on his oratory abilities and I was interested in how karaoke as a vehicle was so adept at offering people all that was left of authentic expression in a political speech. Managing a politician and constructing their identity is such a developed practice that it becomes, kind of automatically, a metaphor for the way that our own identities are constructed. Of course the Obama campaign was very hip and savvy and deploying this notion of grassroots. It was really pioneering in its use of social media and this deployment of notions of populism. I was interested at that time in the capacity of karaoke to track speech patterns, precise tempos of anyone’s delivery, and that to me was a way of thinking about what might be left of the authentic self. I was interested in karaoke’s capacity to extract that authentic component and offer it to others. So not just to stand up and be them, but to [literally] pass their speech patterns through your own body. A long time ago, it started to strike me as odd that one would make media at all. It struck me as a kind of un-contemporary way of going about making art in an age of media overflow. That logic extended into my thinking on delivery devices and installation as well. Why would one buy a screen or even set one up when there are so many out there? And the way in which these media displays function in karaoke bars and bars in general is very interesting to me. I’m drawn to this passive consumption of media where your primary social interaction is with the bartender or a few other individuals but these screens are around you and your attention is shifting back and forth between these spaces. So much political rhetoric is spoken to a half-listening audience. I was interested in what was happening in the slippage and that karaoke was a kind of slippage amplifier. So if you put people in a bar and they are delivering a Kucinich speech and Kucinich comes up on a screen then your getting a sound bite of Kucinich and an image of Kucinich and your friend is talking to you— FLM: A kind of magic takes place in that incongruency between sound and image and the karaoke participant who’s relaying the speech-text at the same time. DP: Exactly and there’s some kind of truth in that experience of reality. FLM: Yeah, there’s something uncanny about seeing the body close-up like that as though it can’t lie to you in that moment or context. It’s a weird moment of luminous clarity. The work you’ve done and all of what you’re saying about karaoke is so very interesting to me. Growing up, my dad and uncles sang karaoke a lot (and still do) and being first-generation Filipino American is a different cultural subtext entirely. I’m also seeing it from the position of witnessing family members who are carriers of these stories and songs. And seeing them cherish these Tony Bennett, Frank Sinatra, Elvis Presley songs so much, I also see how their bodies are literal vessels of popular music that signifies something greater—it signifies their cultural and socioeconomic place in the world. The way that they cherish these American 1950s and 1960s pop songs is similar to having a certain kind of reverence for their spiritual faith or Catholicism. It’s a similar kind of care, focus, and attention exerted in karaoke and Catholicism—that these two structures and systems give something to focus on. Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana — d. peltz — 2008 DP: Sure there something about the relationship we have to our candidate or the way we go about choosing a candidate, which is very similar to a deity or idol. I learned a lot about karaoke culture through this project. I’d never done karaoke. I’d never been interested in it as a form and then I travelled to Japan as part of the project when I made “Setsuko, Seiji and Hitoshi in Obama, Japan as Barack Obama in Indiana” and it was quite fascinating because my image of karaoke had always been this very public forum in a karaoke bar and then I discovered there’s this whole other world of karaoke where people even go on their own, they go and rent a room or cubicle and sing, or they go on a date—just the two of them go and sit in a room and do karaoke together. FLM: I’m interested in issues that take place within or as a result of specific karaoke culture(s). In the Philippines within the last several years there’s been occurring the “My Way Killings” phenomenon. Apparently baklas or gay men are employed by karaoke establishments to help “smooth over conflicts over karaoke singing”—these social forms of conduct, or lack thereof that arise out of the infrastructures of this social sport. In this one rural part of the Philippines there’s a village karaoke machine that the whole village shares—the Aeta indigenous people have an appointed “keeper” of the karaoke machine. I also see karaoke as a proxy to the confessional box in Catholicism where one goes to pour out their sins (minus the penance and redemption). The karaoke machine enables one to literally sing out whatever’s going on internally, but through highly saturated popular song lyrics. While karaoke is a public and social sport, it can also be a private one. Karaoke is a means of communion with each other. DP: Right, this preference for this kind of mediated communication. In Japan I was trying to organize people to work on this project and I was talking about throwing a party and they were like, well, we have to rent a karaoke machine because what else are we going to do? And I think its kind of serving that function of surrogacy—emotional surrogacy. FLM: And karaoke tools can be read as ritual tools—the magic mic that holds everything. There’s got to be some overlap at some point—between religious ceremony and devotion to the karaoke machine. DP: The way I designed the piece was so that it could slip right on top of the ready-made karaoke infrastructure. There was a flat-packed podium and it was made of a single sheet of plywood with no fasteners that slotted into itself. Those were sent out to a network of karaoke bars that I invited to become “karaoke convention centers.” The local VJs downloaded our custom-made, speech-extracted tracks that were designed to play on their existing equipment. In this sense the piece is a permanent installation. If you go to Denver today, some of the VJs still have the tracks in their library of offerings, the Ramones and Romney. It was this notion of re-purposing readymade infrastructure to create a distributable populist form. Obama was coming and the convention was in the Pepsi Center and 30,000 people were coming including 10,000 journalists. The impetus behind the larger art project that commissioned international artists to make works in Denver, was that local people weren’t going to have much access to this convention. It was like an invasion, the city was being descended upon, but if you lived a block away from the site, you had the same access as people in Zimbabwe&mash;30 second media bits excerpted from the speeches. So it seemed to me that the fundamental gesture was how do I take that signal, which was travelling out of the convention center, and create a local interruption? FLM: Is that what you mean by ‘intervention’? The term is frequently used to help describe your work. DP: It depends on the day. Around that karaoke project I had a conversation with Krzysztof Wodiczko and he was proposing that maybe rather than intervention, we should consider the word interruption. Because intervention is kind of an overused term in the field of art and it has militaristic and therapeutic associations outside of the art context. Fundamentally, the idea of intervening speaks to the readymade social world as your primary material. So it’s basically suggesting a kind of subtractive process, which gets back to this question: what is the role of the contemporary media artist in a world that’s so saturated with media? You can’t work additively in a saturated field. If you want to make a visible mark you have to work subtractively. That’s what intervention is about to me, just another way of saying “to work subtractively.” FLM: So the interventions or interruptions aren’t necessarily adding or subtracting, but are they putting orange cones there? What are they doing exactly? DP: I think you’re right about that, they’re not really subtracting. They’re adding to the scope of possibility. I’ve been thinking (with this exhibition I’m mounting next month) about the work as explorations and expansions of social possibility. Maybe it’s more insertion. I started calling the pieces ‘insertions’ that I was making in Rejmyre—a small town in Sweden where I’ve been working for six years now. My favorite site to install there is the tourist bureau. I started calling the video pieces that I made for the tourist bureau, video insertions. This idea that you’re inserting something into the readymade media infrastructure of the world resonates with me. Insertion leverages a context, creating a possibility that the inserted object might be naturalized in the process — that someone can encounter my video in Rejmyre as tourist information. And then all of a sudden tourist information can include some American guy prostrating through town and it can include really bad relationship advice. Maybe insertion is a better word. tourist information – d. peltz 2009-present  . (shrink)

El presente artículo tiene como objetivo principal presentar y discutir el concepto de las hiperescrituras del yo como prácticas de producción de memorias. A partir de estas escrituras, practicadas y compartidas en la pandemia, se pretende pensar la ficción como táctica de (re)existencia. Finalmente se presenta una experiencia en la plataforma Moodle, diseñada con estudiantes durante el 2020, que tuvo la ficción como punto de partida de la propuesta didáctica.

Are preventive justice measures justified? Do they needlessly blur the boundaries between criminal and civil law, signalling a change in the architecture of security? The contributors in this volume re-assess the foundations for the range of coercive measures that states now take in the name of prevention and public protection.

Este artículo reflexiona sobre la segregación socio-espacial en contextos urbanos, comprendiéndola como una dimensión particular de los procesos de estructuración social en las ciudades capitalistas. Concretamente, se aborda el caso de la ciudad de Córdoba (Argentina). Se parte del supuesto de que el crecimiento urbano por expansión que se registra durante la década del `80, es el resultado de un doble proceso de larga duración. Por un lado, políticas de desarrollo urbano que buscan incrementar la productividad y atraer inversiones privadas (...) que re-cualifiquen espacios estratégicos de la ciudad. Por otro lado, y subsidiario del proceso anterior, la progresiva ocupación diferencial del área periférica de acuerdo a posiciones y condiciones de clase. Se concluye que la suburbanización que se registra en la ciudad forma parte de una política general de (re)valorización urbana orientada hacia el capital privado, y que ya desde los primeros años de la transición democrática pueden observarse en Córdoba incipientes marcas de una periferia segmentada en términos de clase. La estrategia metodológica articula el análisis de datos provenientes de fuentes secundarias (indicadores urbanos, socio-demográficos y habitacionales) con el abordaje cualitativo de intervenciones urbanas y marcos normativos sancionados a mediados de la década del ’80. (shrink)

Marcando o pensamento europeu do séc. XIX e atual, Émile Durkheim (1858-1917), um dos fundadores da Sociologia, fundador e diretor da Revista L'Année Sociologique, está na base da História Social praticada na França - como, por exemplo, em Roger Chartier e em Pierre Bourdieu. É o teórico mais acabado do positivismo e do capitalismo em sua fase imperial, escrevendo uma obra vastíssima, que vai da História e da Filosofia à Educação e à Sociologia, merecendo destaque: A Divisão do Trabalho Social (...) ( 1893), As Regras do Método Sociológico ( 1895 ), O Suicídio ( 1897), As Formas Elementares da Vida Religiosa, bem como outros textos de Educação, de Filosofia e de História. Embora bem conhecidas do público suas reflexões sobre método sociológico, divisão do trabalho, anomia, suicídio e religião, o mesmo não se pode dizer com relação ao que ele pensa enquanto "pedagogo e teórico da educação e da moral", justamente este que foi o fundador da primeira cátedra de "Educação e Sociologia", na Sorbonne ("Nota da Edição Portuguesa") e que construiu uma teoria da educação que respondia à forma prescrita pela sociedade de então. [...]. (shrink)

Breastfeeding policies and the production of motherhood: a historical–cultural approach This paper revisits some of the aspects that allow us to situate historically the process that has been called the ‘politicization of women's breasts’. It is part of a broader research project being undertaken in Rio Grande do Sul, Brazil, which is studying information from the educational material used in the National Campaign for the Incentive of Breastfeeding. The methodological approach used is cultural analysis, and its theoretical basis is informed (...) by feminist studies and cultural studies, from a poststructuralist perspective. Knowledges and practices that produce notions of maternity are problematized to argue that current political and economic arrangements have necessitated a redefinition of motherhood. This re‐signification of motherhood has transferred to women the duty of solving an array of problems that were previously considered government's responsibility, in particular those related to the physical and emotional development of infants. (shrink)

O trabalho estuda as formas de representação do sagrado no romance hispano-americano do século XX e propõe uma reflexão sobre algumas formas de utilização das mitologias e tradições religiosas pela literatura. A presença das narrativas sagradas no texto literário do século XX surge marcada por uma renovada experiência estética, pois não se trata apenas de utilizar ou reutilizar uma temática exótica, mas, sim, perceber um potencial tradutor de verdades universais, imanentes aos textos religiosos ou mitologias ancestrais. O artigo propõe uma (...) reflexão sobre as particularidades da produção literária europeia e hispano-americana, que utilizam os temas sagrados, a fim de perceber as consonâncias e dissonâncias estéticas e históricas. O fenômeno estético denominado “mitologismo”, estudado por E.M. Mielietinski, pode ser entendido como um modus operandi da estruturação do romance que conjuga literatura e relatos sagrados e, neste estudo, fundamenta a discussão sobre a heterogeneidade cultural dos povos hispânicos expressa em suas representações literárias. Palavras-chave : Romance . Mitologias. Religião. Hispano-América.This article studies the forms of representation of the sacred in the Hispanic-American novel of the 20th century and proposes a reflection on some ways of using the mythological and religious traditions by literature. The presence of sacred narratives in the literary texts of the 20th century is marked by a renewed aesthetic experience, once it does not only refer to using or re-using an exotic theme, but perceiving a potential translator of universal truths, immanent to religious texts or mythological ancestors. The present proposal offers a reflection on the peculiarities of European and Hispanic-American productions which make use of sacred themes, meaning to understand the aesthetic and historical consonances and dissonances. The aesthetic phenomenon named “mythologism”, studied by E.M. Mielietinski, can be understood as a modus operandi of the structure of the novel that joins literature and sacred texts and, in this study, serves as a basis for the discussion on the cultural diversity of Hispanic peoples expressed in their literary representations. Keywords: Novel. Mythologies. Religion. Hispanic-America. (shrink)

RESUMO É cada vez mais sensível a grande profusão de distintas formas de narratividade biográfica na sociedade contemporânea. A partir do que apresentam pesquisas em diferentes campos dos estudos em linguagem, faz-se incontestável a heterogenericidade com que diversas formas de narração do eu em diferentes tons de autorreferência têm insurgido numa sociedade altamente midiatizada e globalizada. Nesse entrever, ancorados no edifício teórico da análise dialógica do discurso em confluência com estudos que se debruçam sobre as escritas de si, propomo-nos a (...) discutir a ressignificação como ato característico do movimento de autorreferência constitutivo da autobiografia e de algumas outras formas de narrativas do eu. Dentre outras observações, destacamos, na construção discursiva de textos autorreferentes, como a autobiografia, um entrecruzamento entre sentidos, memórias e vivências em uma relação de ressignificação sob a luz do que o sujeito não só foi como agora é. ABSTRACT The great profusion of different forms of biographical narrativity in contemporary society is increasingly sensitive. From what is presented by studies in different fields of language studies, the heterogeneity with which diverse forms of narration of the self in different tones of self-reference have emerged in a highly mediatized and globalized society becomes indisputable. Therefore, anchored in the theoretical propositions of the dialogic analysis of discourse along with studies that focus on life writings, we discuss re-signification as a characteristic act of the movement of self-reference, constitutive of autobiographies and some other forms of narratives of the self. Among other observations, we highlight in the discursive construction of self-referential texts, such as autobiography, a cross-linking between senses, memories and life experiences in their relation of re-signification in the light of what the subject not only was, but is now. (shrink)

Utviklingen innenfor informasjons- og kommunikasjonsteknologi har gitt opphav til en type etisk-politisk utfordring som gjerne kalles digital ulikhet. Tradisjonelt har det dreid seg om sosiale ulikheter i tilgangen til IKT på individnivå. Nyere forskning på området er mer opptatt av bruk og dermed av tilbudet av aktiviteter og tjenester gjennom Internett. I denne artikkelen ser vi på hvordan det kan oppstå geografisk digital ulikhet som følge av at norske kommuner tilbyr digitale tjenester – herunder informasjon og ressurser for lokalpolitisk deltakelse (...) – i svært forskjellig omfang. Det betyr at kommunene står overfor etisk-politiske utfordringer knyttet til digital ulikhet som følge av deres strategier for bruk av hjemmesider, og for digital utvikling av kommunen mer generelt. Selv om det er få kommuner som tilbyr særlig mye når det gjelder lokalpolitisk deltakelse, er ulikhetene i tilbudet av informasjon og digitale tjenester betydelige. I tillegg bidrar velutviklede hjemmesider til å gjøre kommunen mer gjennomsiktig og lettere tilgjengelig, noe vi antar er en fordel for innbyggerne. Analysen er basert på en kvantitativt orientert innholdsanalyse av hjemmesidene til alle norske kommuner og en kvalitativ innholdsanalyse av hjemmesidene til ti norske kommuner.Nøkkelord: digital ulikhet, etisk-politiske utfordringer, kommuner, hjemmesider, digitale tjenesterEnglish summary: Norwegian local governments electronically out of step? From social to geographical digital dividesThe development of information and communication technologies has raised a kind of ethical–political challenge usually referred to as a digital divide. Traditionally, this has fomented concerns about social inequalities with respect to individual access to ICT. More recent scholarship argues the need to be more focused on use rather than access; accordingly, also on the supply of activities and services through internet. In this article, we study how geographical digital divides may appear as a consequence of the fact that Norwegian local governments supply digital services – including information and resources for local political participation – to quite a different extent. This means that local governments face ethical–political challenges related to digital divides as a consequence of their strategies for the development of home pages and for digital development of local government services more generally. Even though only a few local governments offer much with regard to local political participation, the inequalities with respect to the supply of information and digital services are considerable. In addition, apparently, well–developed home pages make the local government more transparent and more accessible. We believe this to be of advantage to local citizens. The analysis is based on a quantitative content analysis of all Norwegian local governments and a qualitative content analysis of the home pages of 10 local governments. (shrink)

Background: A short version of the Posttraumatic Diagnostic Scale comprising only re-experiencing symptom items has been recently validated on Japanese adults. This short-version-PDS had good psychometric properties among Japanese adults with and without posttraumatic stress disorder. The aim of this study was to translate and culturally validate the short-version-PDS for the Brazilian sociolinguistic context.Methods: A translation of the short-version-PDS was performed based on established guidelines. We enrolled 53 patients with PTSD as a potential comorbidity. The translation and cross-cultural adaptation of (...) the short-version-PDS included forward and back-translation by a Japanese Brazilian researcher and a certified translator; synthesis was achieved by consensus, backward translation, pilot test, and finalization. Content validity coefficient was used to assess quality of adaptation. Internal consistency was calculated using Cronbach's alpha coefficient. Spearman correlations were between the new short-version-PDS and the Brazilian version of the posttraumatic Stress Disorder Checklist for DSM-5, and a receiver operating characteristic curve was used to determine the best cut-off values for the short-version-PDS.Results: The short-version-PDS was well accepted by all subjects, none of the questions were experienced as inappropriate, and all questions of the 3 items were judged important. Item 1 presented CVCt = 0.92; item 2 had a CVCt = 0.87 and item 3 had a CVCt = 0.95. The internal consistency of the final version as measured by Cronbach's alpha was 0.78. The short-version-PDS scale correlated positively with the DSM-5 scale with a Spearman rho of 0.64 (95%CI [0.4-0.8], p 31.0 with sensitivity and specificity are 86.4 and 93.5%, respectively.Conclusions: This Brazilian Portuguese version of the short-version-PDS had good psychometric properties among Brazilian adults with and without PTSD. Transferability and generalizability of the cut-off scores should be further analyzed. (shrink)

If a state commits injustice, who is responsible for compensating its victims and safeguarding against future wrongdoing? Do the state’s citizens bear this responsibility? Do they all bear it equally? Avia Pasternak's and Holly Lawford-Smith's recent books address these pressing questions. Each book represents a thought-provoking attempt to derive an account of citizen responsibility for state wrongs from an account of state agency understood as group agency. Though the books demonstrate the promise of this approach to produce action-guiding advice for (...) real policymakers, they also demonstrate its limitations—in particular, its lack of attention to social structures. Here, I argue that Pasternak's and Lawford-Smith's views would be enriched by further engagement with the literature on structural injustice, which takes individuals’ perpetuation of social systems (not their implication in acts of group agency) as a central source of their remedial obligations. Through critical engagement with Pasternak and Lawford-Smith, I illustrate how a structural injustice framework could yield more attractive conclusions than a group agency framework in certain cases, better explain non-culpable forms of citizen responsibility, and allow us to theorize citizen responsibility for state action without making questionable claims about the metaphysics or social ontology of group agency. (shrink)

This chapter investigates the biography of Theodor W. Adorno and assesses his particular thoughts on musical philosophy. Adorno was born in Frankfurt am Main on September 11, 1903. While on vacation in Visp, Switzerland, he died of a heart attack on August 6, 1969. Aesthetic Theory, with Philosophy of New Music at its heart, subsumed the legacy of Adorno's entire philosophy; along with his Negative Dialectics and a planned work on moral philosophy that his early death prevented. Art and philosophy (...) played a central role from his early years onward. In Philosophy of New Music, Adorno refined the theory of musical material. The discussion of Adorno's philosophy of music gradually died down, as interest increasingly turned to engagement with the posthumous Aesthetic Theory. (shrink)

Dispelling the Darkness: A Jesuit’s Quest for the Soul of Tibet, by Donal S. Lopez Jr. and Thupten Jinpa. Harvard University Press, 2017. 320 pp. Hb and e-book. £23.95. ISBN- 13: 9780674659704.

Rodolfo Sacco developed the idea of “mute behaviours” during his studies on mute law. The notion of “mute behaviours” denotes an action that is able to mould a legal relationship without any use of language. Certainly, this concept may give rise to some doubts in relation to the attribution—to a behaviour qualified as mute—of the capability to affect dynamics involving a plurality of people. Aiming to clarify the idea of “mute behaviours” by this point of view, the authors analysed the (...) semiotic terminology used by Sacco himself to explain this notion and the issue of its silent nature. Therefore, the terms “signifying signs” and “symptoms”, deemed by Sacco—respectively—incompatible and compatible with the theory of mute behaviours were considered. The former term was traced back to the notion of conventional and arbitrary sign, the notion of the latter was reconstructed linking it to the concept of signs based on signification and suggesting a possible framework in view of the idea of “presentative meanings” developed by the philosopher Guido Morpurgo-Tagliabue. Clarified this dichotomy by a terminological analysis, the authors noticed—as affirmed by Rodolfo Sacco himself—the impossibility to ascribe the notion of gesture to the mute behaviour’s category, as some exegetes proposed. Consequently to this last remark, the authors tried to analyse the relationship between gestures and “mute behaviours”, identifying the category of “sema-pragmatic acts”, that includes gestures and may be seen as an intermediate phase between “mute behaviours” and legally relevant behaviours operated by speaking. (shrink)

The emotional connotation of words is known to affect word and sentence processing. However, the when and how of the interaction between emotion and grammar are still up for debate. In this behavioural experiment, 35 female university students read noun phrases (NPs) composed by a determiner and a noun in their L1 (Spanish), and were asked to indicate if the NPs were grammatically correct (elmasc camareromasc) or not (*lafem tornillomasc; i.e. a gender agreement task). The type of gender (arbitrary/natural), the (...) emotionality (unpleasant/neutral), and the gender class (feminine/masculine) of the nouns were manipulated. We found an overall grammaticality effect, responses being faster in grammatically correct trials than in incorrect ones. However, the effects of emotionality and gender class varied depending on gender type. For arbitrary gender, the grammaticality effect was greater in feminine nouns than in masculine nouns and independent of emotionality. For natural gender, the grammaticality effect interacted with gender class and emotionality, this effect only emerging in unpleasant stimuli for feminine nouns. Our results reveal that it is possible to find emotional effects at the behavioural level in an intrinsically grammatical task. Yet, these effects depend on gender properties like the type of gender and the gender class. (shrink)