This article reports results from a program that produces high‐quality animation of facial expressions and head movements as automatically as possible in conjunction with meaning‐based speech synthesis, including spoken intonation. The goal of the research is as much to test and define our theories of the formal semantics for such gestures, as to produce convincing animation. Towards this end, we have produced a high‐level programming language for three‐dimensional (3‐D) animation of facial expressions. We have been concerned primarily with expressions conveying (...) information correlated with the intonation of the voice: This includes the differences of timing, pitch, and emphasis that are related to such semantic distinctions of discourse as “focus,”“topic,” and “comment,”“theme” and “rheme,” or “given” and “new” information. We are also interested in the relation of affect or emotion to facial expression. Until now, systems have not embodied such rule‐governed translation from spoken utterance meaning to facial expressions. Our system embodies rules that describe and coordinate these relations: intonation/information, intonation/affect, and facial expressions/affect. A meaning representation includes discourse information: What is contrastive/background information in the given context, and what is the “topic” or “theme” of the discourse? The system maps the meaning representation into how accents and their placement are chosen, how they are conveyed over facial expression, and how speech and facial expressions are coordinated. This determines a sequence of functional groups: lip shapes, conversational signals, punctuators, regulators, and manipulators. Our algorithms then impose synchrony, create coarticulation effects, and determine affectual signals, eye and head movements. The lowest level representation is the Facial Action Coding System (FACS), which makes the generation system portable to other facial models. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 29.3 (1999) 81-101 [Access article in PDF] Sex without Sex, Queering the Market, the Collapse of the Political, the Death of Difference, and AIDS: Hailing Judith Butler Brett Levinson It is interesting to note that in Judith Butler's study of the social construction of sex, Gender Trouble (as well as in the sequel, Bodies That Matter), one finds barely a trace of sex. Or to put matters (...) more bluntly: in Butler's study of gender critiques that avoid or dismiss the matters of hetero- and homosexuality, in her examination of the relationship of gayness and lesbianism to feminism, and in her exposition of a politics of queerness--as to fucking, not a word. This omission is not tangential to Gender Trouble. It determines Butler's entire undertaking. 1. The (In)difference of Performance By illustrating that sex, like gender, is a social construction, Butler strives to tear not sex but both sex and gender from biological essentialism. For as Butler insists, as soon as we imagine sex (woman/man) as naturally given, and gender (feminine/masculine) as a product of social forces, we fall into the very gender essentialism that we seemingly called into question. This is because the sex/gender binary makes sex the ground of gender: a woman may be masculine or feminine, and she may subvert the social norms that demand that women act in a certain manner. But throughout all of these gender reversals, she remains a woman. Her behavior, therefore, is either far from her sex (if she is subversive) or close to it (if she conforms). But in either case, it is measured in terms of that sex, which stands as the essence or foundation of the conduct. Hence, within such a discourse, gender stereotypes do not actually emerge as social (thereby deconstructible) constructs since the substructure (sex) of their edifice is given prior to production.This thesis, which ultimately reveals that the sex/gender split reproduces the woman/man binary--the foundation of sexism--opens the way for one of Butler's most renowned interventions: her theory of performativity. Butlerian performance traces the intersection of Derrida's concept of mimesis and Foucault's understanding of power. Derrida argues that if a mark (in writing) or a sound (in speech) is to form part of a language, it must be iterable. Language hinges on social conventions, and social conventions on repetition, ritual. Repetition, therefore, does not follow (from) a pregiven [End Page 81] [Begin Page 83] sign but is a condition of its possibility: a sign must be repeatable before it is a sign. 1Derrida often translates these ideas into an analysis of "the citation," a fact Butler fully exploits. An articulation, Derrida argues, must be a priori citable (again, iterable) if it is to function as an articulation, as a "speech act." This means that deviance, miscitation, recontextualization, and the possible transformation or loss of an enunciation--any or all of which could occur via a citation--belong essentially to that enunciation. The repetitions that yield rituals, habits, and then norms are the same iterations that undermine those norms. But this is true not only for speech. It holds as well for the law: the citing, execution, reading, writing, and acknowledgment of the law, hence the possibility of the law's shift and even disappearance, pertain to the law's groundwork.Gender Trouble posits patriarchy and compulsive heterosexuality as two such citable laws. And as laws, they are powerful but not inevitable. Indeed, because the law of normalcy harbors its own deviance as a condition of its public emergence or deployment, this normalcy opens the way for its own transgression. One is indeed subject to the law of the norm. But this subjection cannot not grant the very alternative agency/subjectivity it strives to suppress.Hence for Butler, queer types such as the "femme" or the "butch," as they perhaps flaunt (through dress, bodily image, or public demonstration) the constructed character of their own sexual identities, recite and dis-cover the constructed, artificial... (shrink)

relations between events both require a more complex structure on the domain underlying the meaning representations than is commonly assumed. This paper proposes an ontology based on such notions as causation and consequence, rather than on purely temporal primitives. A central notion in the ontology..

How can Scripture address the crucial justice issues of our time? In this book Mark Brett offers a careful reading of biblical texts that speak to such pressing public issues as the legacies of colonialism, the demands of asylum seekers, the challenges of climate change, and the shaping of redemptive economies. Brett argues that the Hebrew Bible can be read as a series of reflections on political trauma and healing -- the long saga of successive ancient empires (...) violently asserting their sovereignty over Israel and of the Israelites forced to live out new pathways toward restoration. Brett retrieves the prophetic voice of Scripture and applies it to our contemporary world, addressing current justice issues in a relevant, constructive, compelling manner. (shrink)

The frame problem refers to the fact that organisms must be able to zero in on relevant aspects of the world and intelligently ignore the vast majority of the world that is irrelevant to their goals. In this paper we aim to point out the connection between two leading frameworks for thinking about how organisms achieve this. Predictive processing is a rapidly growing framework within cognitive science which suggests that organisms assign a high ‘weight’ to relevant aspects of the world, (...) effectively treating relevant aspects of the world as if they are more precise. This assignment of weight is called precision-weighting and is the predictive processing account of how organisms allocate their attention. Relevance Realization is a framework that conceptualizes an organism’s ability to realize relevance as resulting from a dynamical system in which a cognitive agent makes use of opponent processing relationships to zero in on relevant aspects of the world. In this paper we use recent work on the diametric model of autism and psychosis to demonstrate that the tradeoffs inherent to precision-weighting are also inherent to relevance realization. This connection will demonstrate that although these frameworks have a different intellectual background and use a different set of concepts and vocabulary, they are both pointing to the same underlying process. The fact that these different frameworks have converged on such a similar solution to the problem of how organisms realize relevance serves to demonstrate the plausibility of that solution. (shrink)

The idea that natural language grammar and planned action are relatedsystems has been implicit in psychological theory for more than acentury. However, formal theories in the two domains have tendedto look very different. This article argues that both faculties sharethe formal character of applicative systems based on operationscorresponding to the same two combinatory operations, namely functional composition and type-raising. Viewing them in thisway suggests simpler and more cognitively plausible accounts of bothsystems, and suggests that the language faculty evolved in the (...) speciesand develops in children by a rather direct adaptation of a moreprimitive apparatus for planning purposive action in the world bycomposing affordances of objects or tools. Theknowledge representation that underlies such planning is alsoreflected in the natural language semantics of tense, mood, andaspect, which the paper begins by arguing provides the key tounderstanding both systems. (shrink)

Biologists frequently draw on ideas and terminology from engineering. Evolutionary systems biology—with its circuits, switches, and signal processing—is no exception. In parallel with the frequent links drawn between biology and engineering, there is ongoing criticism against this cross-fertilization, using the argument that over-simplistic metaphors from engineering are likely to mislead us as engineering is fundamentally different from biology. In this article, we clarify and reconfigure the link between biology and engineering, presenting it in a more favorable light. We do so (...) by, first, arguing that critics operate with a narrow and incorrect notion of how engineering actually works, and of what the reliance on ideas from engineering entails. Second, we diagnose and diffuse one significant source of concern about appeals to engineering, namely that they are inherently and problematically metaphorical. We suggest that there is plenty of fertile ground left for a continued, healthy relationship between engineering and biology. (shrink)

Both formal semantics and cognitive semantics are the source of important insights about language. By developing precise statements of the rules of meaning in fragmentary, abstract languages, formalists have been able to offer perspicuous accounts of how we might come to know such rules and use them to communicate with others. Conversely, by charting the overall landscape of interpretations, cognitivists have documented how closely interpretations draw on the commonsense knowledge that lets us make our way in the world. There is (...) no opposition between these insights. Sooner or later we will have a semantics that responds to both. However, developing such a semantics is profoundly difficult, because there are certain tensions to be overcome in reconciling the two perspectives. For one thing, the overall landscape of meaning does seem to be characterized by a much richer ontology and more dynamic categories than are exhibited by the fragments typically studied in the formal tradition. One sign of strain is the recent tendency to talk of “procedural”, “non-compositional”, or “computational” semantics, as in Hamm, Kamp and van Lambalgen 2006, hereafter HK&vL. We think such locutions can serve as useful reminders to keep semantics fixed on the central question of how language allows us to share information that some have and others need to get. However, there is some danger that formalists will merely by put off by an idea that, taken literally, may not be such a good one. In this short article, we want to explore and defend the traditional realist view attributed by HK&vL to Lewis among others. In fact, this view offers a well-developed, extremely straightforward and robust account of the relation between semantics and cognition. Moreover, while the realist view has ways of accommodating the representationalist insights of DRT (Lewis 1979; Thomason 1990; Stalnaker 1998), it remains unclear how “computational” semantics can account for the key data for the realist view: cases where we judge interlocutors to be ignorant about aspects of meaning in their native language (Kripke 1972; Putnam 1975; Stalnaker 1979; Williamson 1994).. (shrink)

This paper argues that the faculty of language comes essentially for free in evolutionary terms, by grace of a capacity shared with some evolutionarily quite distantly related animals for deliberatively planning action in the world. The reason humans have language of a kind that animals do not is because of a qualitative difference in the nature of human plans rather than anything unique to language.

There is no doubt that the model presented here is incomplete. Many important categories, particularly negation and the adverbials, have been entirely ignored, and the treatment of Tense and the affixes is certainly inadequate. It also remains to be seen how the many constructions that have been ignored here are to be accommodated within the framework that has been outlined. However, the fact that a standard categorial lexicon, plus the four rule schemata, seems to come close to exhaustively specifying the (...) main clause constructions of English, and also seems to explain a number of major constraints on transformations, encourages us to compare the theory with certain alternatives, and to examine its broader implications. (shrink)

The paper proposes a semantics for contextual (i.e., Temporal and Locative) Prepositional Phrases (CPPs) like during every meeting, in the garden, when Harry met Sally and where I’m calling from. The semantics is embodied in a multi-modal extension of Combinatory Categoral Grammar (CCG). The grammar allows the strictly monotonic compositional derivation of multiple correct interpretations for “stacked” or multiple CPPs, including interpretations whose scope relations are not what would be expected on standard assumptions about surfacesyntactic command and monotonic derivation. A (...) type-hierarchy of functional modalities plays a crucial role in the specification of the fragment. (shrink)

Under resource dependence theory, firms should benefit from diverse boards of directors. Ethical arguments also highlight that boards should be as diverse as the stakeholders and communities that they serve. In an attempt to increase diversity and women’s presence on boards of directors, legislative efforts have enacted gender quotas. We examine how such efforts are perceived by U.S. market participants. We expect that when a firm operating under a quota law meets only the minimum requirement, investors will view the female (...) directors through the lens of token status theory and invest fewer resources in that firm than they will in a firm that exceeds the quota minimum or has the same composition but is not under a quota law. Through an experiment with 207 MTurk participants, we manipulated whether a firm was or was not under a quota law and whether the number of female board members was just at or exceeded the law’s minimum compliance. We find evidence that under a quota system, U.S. market participants tend to view female directors as tokens when the firm is just at the quota minimum, and these perceptions both affect their view of the firm’s prospects and negatively influence investment decisions. Importantly, however, we find that these negative effects can be offset and that resource dependence theory holds if the firm _exceeds_ the quota, signaling that the hiring of female directors is not simply compliance-dependent and subsequently leading U.S. market participants to invest more resources in the firm. (shrink)

To model behavioral and neural correlates of language comprehension in naturalistic environments, researchers have turned to broad‐coverage tools from natural‐language processing and machine learning. Where syntactic structure is explicitly modeled, prior work has relied predominantly on context‐free grammars (CFGs), yet such formalisms are not sufficiently expressive for human languages. Combinatory categorial grammars (CCGs) are sufficiently expressive directly compositional models of grammar with flexible constituency that affords incremental interpretation. In this work, we evaluate whether a more expressive CCG provides a better (...) model than a CFG for human neural signals collected with functional magnetic resonance imaging (fMRI) while participants listen to an audiobook story. We further test between variants of CCG that differ in how they handle optional adjuncts. These evaluations are carried out against a baseline that includes estimates of next‐word predictability from a transformer neural network language model. Such a comparison reveals unique contributions of CCG structure‐building predominantly in the left posterior temporal lobe: CCG‐derived measures offer a superior fit to neural signals compared to those derived from a CFG. These effects are spatially distinct from bilateral superior temporal effects that are unique to predictability. Neural effects for structure‐building are thus separable from predictability during naturalistic listening, and those effects are best characterized by a grammar whose expressive power is motivated on independent linguistic grounds. (shrink)

Which rules should guide our reasoning? Human reasoners often use reasoning shortcuts, called heuristics, which function well in some contexts but lack the universality of reasoning rules like deductive implication or inference to the best explanation. Does it follow that human reasoning is hopelessly irrational? I argue: no. Heuristic reasoning often represents human reasoners reaching a local rational maximum, reasoning more accurately than if they try to implement more “ideal” rules of reasoning. I argue this is a genuine rational achievement. (...) Our ideal rational advisors would advise us to reason with heuristic rules, not more complicated ideal rules. I argue we do not need a radical new account of epistemic norms to make sense of the success of heuristic reasoning. (shrink)

The thesis that agents should calibrate their beliefs in the face of higher-order evidence—i.e., should adjust their first-order beliefs in response to evidence suggesting that the reasoning underlying those beliefs is faulty—is sometimes thought to be in tension with Bayesian approaches to belief update: in order to obey Bayesian norms, it’s claimed, agents must remain steadfast in the face of higher-order evidence. But I argue that this claim is incorrect. In particular, I motivate a minimal constraint on a reasonable treatment (...) of the evolution of self-locating beliefs over time and show that calibrationism is compatible with any generalized Bayesian approach that respects this constraint. I then use this result to argue that remaining steadfast isn’t the response to higher-order evidence that maximizes expected accuracy. (shrink)

I argue that Quinean naturalists’ holism-based arguments against analyticity and apriority are more difficult to resist than is generally supposed, for two reasons. First, although opponents of naturalism sometimes dismiss these arguments on the grounds that the holistic premises on which they depend are unacceptably radical, it turns out that the sort of holism required by these arguments is actually quite minimal. And second, although it’s true, as Grice and Strawson pointed out long ago, that these arguments can succeed only (...) if there isn’t any principled criterion for meaning change, such a criterion turns out to be hard to come by. David Chalmers has recently argued that such a criterion must exist, since the norms governing belief revision are subject to obvious exceptions that can be explained only by appeal to meaning change. But this, I argue, is incorrect: if choices about how to use language are themselves rationally assessable, then there are no such exceptions to be explained. To show that this is so, I formulate a new kind of coherence norm that may be useful for reasoning formally about the relationship between meaning and evidence. (shrink)

In 2003, the concept of precarity emerged as the central organizing platform for a series of social struggles that would spread across the space of Europe. Four years later, almost as suddenly as the precarity movement appeared, so it would enter into crisis. To understand precarity as a political concept it is necessary to go beyond economistic approaches that see social conditions as determined by the mode of production. Such a move requires us to see Fordism as exception and precarity (...) as the norm. The political concept and practice of translation enables us to frame the precarity of creative labour in a broader historical and geographical perspective, shedding light on its contestation and relation to the concept of the common. Our interest is in the potential for novel forms of connection, subjectivization and political organization. Such processes of translation are themselves inherently precarious, transborder undertakings. (shrink)

In The Anticipatory Corpse, Jeffrey Bishop claims that modern medicine has lost formal and final causality as the dead body has become epistemologically normative, and that a singular focus on efficient and material causality has thoroughly distorted modern medical practice. Bishop implies that the renewal of medicine will require its housing in alternate social spaces. This essay critiques both Bishop’s diagnosis and therapy by arguing, first, that alternate social imaginaries, though perhaps marginalized, are already present within the practice of medicine. (...) And second, the essay argues that alternate social imaginaries in medicine can be reclaimed not through separatist communities but in the re-narration of conceptually underdetermined practices. Given Bishop’s invitation for theology to engage medicine, this essay then draws from theologian Dietrich Bonhoeffer for the kind of diagnosis and therapy currently needed, concluding with a contemporary example of how an alternate social imaginary is being instantiated in modern medicine. (shrink)

At Aeschylus Agamemnon 985 the manuscript reading ψαμμίας ἀκάτα is corrupt, giving neither meter nor sense. Wilamowitz’ conjecture ψάμμος ἄμπτα has met with some editorial approval, but its sense is dubious and should be rejected. I propose instead ψάλλον ἀκταῖς, “they were plucking on the shore”, referring to the performance of a paean on the lyre by the Greek fleet departing for, or, less likely, arriving at, Troy. The fleet’s departure would be an appropriate time for the soldiers to perform (...) a paean, for which the lyre was a common accompaniment. Plucking a lyre without strumming, however, as ψάλλον implies, seems to have been a less common performance technique, sometimes culturally marked as ‘Asian’. While there is evidence that a paean with plucked accompaniment might have seemed unexceptional to a Greek audience, if Aeschylus did intend an Asian connotation, I suggest that the Chorus, having just witnessed Agamemnon tread on the purple cloths, would thereby portray the Greek army as already tainted by tryphe on their departure for Troy. Whether ‘Greek’ or ‘Trojan’, the conjectured army’s paean would form an effective counterpoint to the lyre-less threnos in the Chorus’ heart that dominates the ode. (shrink)

This handbook presents a comprehensive introduction to the core areas of philosophy of education combined with an up-to-date selection of the central themes. It includes 95 newly commissioned articles that focus on and advance key arguments; each essay incorporates essential background material serving to clarify the history and logic of the relevant topic, examining the status quo of the discipline with respect to the topic, and discussing the possible futures of the field. The book provides a state-of-the-art overview of philosophy (...) of education, covering a range of topics: Voices from the present and the past deals with 36 major figures that philosophers of education rely on; Schools of thought addresses 14 stances including Eastern, Indigenous, and African philosophies of education as well as religiously inspired philosophies of education such as Jewish and Islamic; Revisiting enduring educational debates scrutinizes 25 issues heavily debated in the past and the present, for example care and justice, democracy, and the curriculum; New areas and developments addresses 17 emerging issues that have garnered considerable attention like neuroscience, videogames, and radicalization. The collection is relevant for lecturers teaching undergraduate and graduate courses in philosophy of education as well as for colleagues in teacher training. Moreover, it helps junior researchers in philosophy of education to situate the problems they are addressing within the wider field of philosophy of education and offers a valuable update for experienced scholars dealing with issues in the sub-discipline. Combined with different conceptions of the purpose of philosophy, it discusses various aspects, using diverse perspectives to do so. Contributing Editors: Section 1: Voices from the Present and the Past: Nuraan Davids Section 2: Schools of Thought: Christiane Thompson and Joris Vlieghe Section 3: Revisiting Enduring Debates: Ann Chinnery, Naomi Hodgson, and Viktor Johansson Section 4: New Areas and Developments: Kai Horsthemke, Dirk Willem Postma, and Claudia Ruitenberg. (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)

What do medicine and war have to do with each other? This question is explored through the writings of James Childress, whose early contributions to just war theory illuminate his work in bioethics. By considering the conceptual influences of just war theory on Childress’s bioethics, the contributions and limits of his approach can be set in relief through normative engagement with certain areas of medicine. In particular, Childress’s just-war-inspired bioethics befits the practice of surgery; but oncology, as a medical analogue (...) to total warfare, requires significant transformation in order to be disciplined by Childress’s approach. Childress offers a coherent schema for navigating moral conflict in a fallen world, but he does not provide a substantive account of the peaceable end toward which medicine as just war aims. (shrink)

Do autistic people read autistic behavior in the same way as neurotypical observers? We consider evidence that suggests autistic-to-autistic interactions demonstrate enabling norms and question the possibilities for neurotypical researchers to learn from autistic social appraisal.

J. JUDD OWEN AND JEFFREY STOUT SUGGEST THE NEED TO RETHINK OUR understanding of the normative commitments of liberal democracy in response to recent challenges from its "cultured despisers". In this essay I argue that Owen and Stout fail to redeem liberal democracy against these critics because they reject the possibility of constitutional neutrality with respect to an indeterminate plurality of religions. As a result, a religious test on citizenship is inevitable under any democratic constitution expressed in their terms, and (...) this test lays liberal democracy open to the despisers' main line of attack. As an alternative, I offer a defense of constitutional neutrality that is based on the work of Franklin I. Gamwell, who has developed a compound conception of justice for this purpose. Gamwell systematically distinguishes between formative and substantive conceptions of justice and the role they play in a theory of constitutional democracy. On Gamwell's account, a democratic constitution expressed as a formative conception of justice will be neutral with respect to all substantive moral disagreement. As such, it can be consistently affirmed by the adherents of an indeterminate plurality of religions. This account of liberal democracy avoids a religious test on citizenship and therefore can overcome the core objection raised against it by its contemporary critics. (shrink)

Jakob von Uexküll's theories of life -- Biography and historical background -- Nature's conformity with plan -- Umweltforschung -- Biosemiotics -- Concluding remarks -- Marking a path into the environments of animals -- The essential approach to the organism -- Heidegger and the biologists -- Paths to the world -- Disruptive behavior : Heidegger and the captivated animal -- The worldless stone -- The poor animal -- For example, three bees and a lark -- Animal morphology -- A shocking wealth (...) -- A fine line in the rupture of time -- An affected body -- The theme of the animal melody : Merleau-Ponty and the umwelt -- The structure of behavior -- A pure wake, a quiet force -- A leaf of being -- Interanimality -- The-animal-stalks-at-five-oclock : Deleuze's affection for Uexküll -- Problematic organisms -- Uexküll's ethology of affects -- The body without organs, the embryonic egg, and prebiotic soup -- Nature's refrain sung across milieus and territories -- The animal stalks. (shrink)

Long claimed to be the dominant conception of practical reason, the Humean theory that reasons for action are instrumental, or explained by desires, is the basis for a range of worries about the objective prescriptivity of morality. As a result, it has come under intense attack in recent decades. A wide variety of arguments have been advanced which purport to show that it is false, or surprisingly, even that it is incoherent. Slaves of the Passions aims to set the record (...) straight, by advancing a version of the Humean theory of reasons which withstands this sophisticated array of objections. Schroeder defends a radical new view which, if correct, means that the commitments of the Humean theory have been widely misunderstood. Along the way, he raises and addresses questions about the fundamental structure of reasons, the nature of normative explanations, the aims of and challenges facing reductive views in metaethics, the weight of reasons, the nature of desire, moral epistemology, and most importantly, the relationship between agent-relational and agent-neutral reasons for action. (shrink)

Mark C. Murphy addresses the question of how God's ethics differs from human ethics. Murphy suggests that God is not subject to the moral norms to which we humans are subject. This has immediate implications for the argument from evil: we cannot assume that an absolutely perfect being is in any way bound to prevent the evils of this world.

Causation is one of philosophy's most venerable and thoroughly-analyzed concepts. However, the study of how ordinary people make causal judgments is a much more recent addition to the philosophical arsenal. One of the most prominent views of causal explanation, especially in the realm of harmful or potentially harmful behavior, is that unusual or counternormative events are accorded privileged status in ordinary causal explanations. This is a fundamental assumption in psychological theories of counterfactual reasoning, and has been transported to philosophy by (...) Hitchcock and Knobe (2009). A different view--the basis of the culpable control model of blame (CCM)--is that primary causal status is accorded to behaviors that arouse negative evaluative reactions, including behaviors that stem from nefarious motives, negligence or recklessness, a faulty character, or behaviors that lead to harmful or potentially harmful consequences. This paper describes four empirical studies that show consistent support for the CCM. (shrink)

In “The Quantified Relationship” John Danaher, Sven Nyholm, and Brian Earp (2018) significantly enhance normative discussions about quantified relationships and their core technologies. Our modest...

Expressivism - the sophisticated contemporary incarnation of the noncognitivist research program of Ayer, Stevenson, and Hare - is no longer the province of metaethicists alone. Its comprehensive view about the nature of both normative language and normative thought has also recently been applied to many topics elsewhere in philosophy - including logic, probability, mental and linguistic content, knowledge, epistemic modals, belief, the a priori, and even quantifiers. Yet the semantic commitments of expressivism are still poorly understood and have not been (...) very far developed. As argued within, expressivists have not yet even managed to solve the "negation problem" - to explain why atomic normative sentences are inconsistent with their negations. As a result, it is far from clear that expressivism even could be true, let alone whether it is. Being For seeks to evaluate the semantic commitments of expressivism, by showing how an expressivist semantics would work, what it can do, and what kind of assumptions would be required, in order for it to do it. Building on a highly general understanding of the basic ideas of expressivism, it argues that expressivists can solve the negation problem - but only in one kind of way. It shows how this insight paves the way for an explanatorily powerful, constructive expressivist semantics, which solves many of what have been taken to be the deepest problems for expressivism. But it also argues that no account with these advantages can be generalized to deal with constructions like tense, modals, or binary quantifiers. Expressivism, the book argues, is coherent and interesting, but false. (shrink)

Moral theories usually aspire to be explanatory – to tell us why something is wrong, why it is good, or why you ought to do it. So it is worth knowing how moral explanations differ, if they do, from explanations of other things. This paper uncovers a common unarticulated theory about how normative explanations must work – that they must follow what I call the Standard Model. Though the Standard Model Theory has many implications, in this paper I focus primarily (...) on only one. It plays a crucial role in an argument originally due to Cudworth that has been widely held to conclusively establish that voluntaristic ethical theories are incoherent. But if Cudworth’s argument works, then so would similar arguments against many other moral theories. All of these theories therefore need a different model for how normative explanations can work. So I also motivate and sketch one such alternative model. The result enables us to make progress in evaluating the prospects for a successful reductive view about the normative. (shrink)

Mark Jago presents an original philosophical account of meaningful thought: in particular, how it is meaningful to think about things that are impossible. We think about impossible things all the time. We can think about alchemists trying to turn base metal to gold, and about unfortunate mathematicians trying to square the circle. We may ponder whether God exists; and philosophers frequently debate whether properties, numbers, sets, moral and aesthetic qualities, and qualia exist. In many philosophical or mathematical debates, when (...) one side of the argument gets things wrong, it necessarily gets them wrong. As we consider both sides of one of these philosophical arguments, we will at some point think about something that’s impossible. Yet most philosophical accounts of meaning and content hold that we can’t meaningfully think or reason about the impossible. -/- In The Impossible, Jago argues that we often gain new information, new beliefs, and, sometimes, fresh knowledge through logic, mathematics, and philosophy. That is why logic, mathematics, and philosophy are useful. We therefore require accounts of knowledge and belief, of information and content, and of meaning which allow space for the impossible. Jago’s aim in this book is to provide such accounts. He gives a detailed analysis of the concept of hyperintensionality, whereby logically equivalent contents may be distinct, and develops a theory in terms of possible and impossible worlds. Along the way, he provides a theory of what those worlds are and how they feature in our analysis of normative epistemic concepts: knowledge, belief, information, and content. (shrink)

Oxford Studies in Normative Ethics is an annual forum for new work in normative ethical theory. Leading philosophers present original contributions to our understanding of a wide range of moral issues and positions, from analysis of competing approaches to normative ethics to questions of how we should act and live well. OSNE will be an essential resource for scholars and students working in moral philosophy.

What is the relationship between conceptual engineering and metasemantic externalism? Sally Haslanger has argued that metasemantic externalism justifies the seemingly counterintuitive consequences of her proposed conceptual revisions. But according to Herman Cappelen, metasemantic externalism makes conceptual engineering effectively impossible in practice. After raising objections to Haslanger’s and Cappelen’s views, I argue for a very different picture, on which metasemantic externalism bears very little on conceptual engineering. I argue that, while metasemantic externalism principally operates at the level of semantic-meaning, we should (...) understand conceptual engineering to operate largely at the level of speaker-meaning. This ‘Speaker-Meaning Picture’ has two key benefits. Firstly, it makes conceptual engineering often easy in practice. Secondly, it suggests a new, normative response to the well known objection that conceptual engineering serves only to change the subject. (shrink)