The recognition of the other as subject has achieved a prominent place in contemporary psychoanalysis on both sides of the analytic relationship, but this development has tended to focus on the recognition of who the other is and has been. It is the purpose of this article to add the future, the transcendent experience of the other, to the recognition of the other in the analytic dyad. Heidegger's concept of the “ek-static” will be used to elucidate the human subject as (...) moving beyond him or herself in a continual process of becoming. The result of the peeling back of defenses is not a homunculus waiting to be unearthed, but affective dispositions and desires that have yet to become organized modes of being. It is the purpose of the analytic process to bring this potential to fruition. For this process to take place, the therapist must have a concept of not only who the patient is, but also who she or he is not but may be. It will be suggested that dispositional affects, desires, and passions that emerge when defenses give way provide clues to unformed possibilities that can become ways of being if perceived as such by the therapist. A clinical strategy is proposed in which the analytic space becomes a negative capability for the formation of new ways of being and relating. This idea is illustrated with a clinical example in which the patient's compliant pattern was transcended. (shrink)

In his first summer lecture at Berkeley in 1914, Josiah Royce, American philosopher of community, confessed as follows.

In this paper the system IL for relative interpretability is studied.

The political agreements concluded in the summer of 1981 between the main majority and opposition parties constitute a turning point in the development of Spanish regionalism. Whereas previously autonomy statutes were awarded to historic regions with strong social and cultural identities, we have now a situation where a considerable degree of self-government is also made possible for all other regions. This decision shifted the focus more to socio-economic development, thereby stimulating expectations of improvement based on regional political efforts as well (...) as on national solidarity and state assistance. The recently adopted statute of Andalucia illustrates excellently this new orientation. In this contribution an analysis is made of the institutional instruments available for regional self-government. The conclusions are quite positive with regard to the devolution of powers provided in the constitution and the different statutes. Nevertheless Spain is not evolving into a federal state system. As a more appropriate description we prefer Perez Moreno's characterisation of the existing intergovernmental relations as «autonomias integradas». (shrink)

Volume 21 of _The Annual of Psychoanalysis_ is especially welcome for bringing to English-language readers timely contributions from abroad in an opening section on "Psychoanalysis in Europe." The section begins with a translation of Helmut Thomae's substantial critique of the current state of psychoanalytic education; Thomae's proposal for comprehensive reform revolves around a redefinition of the status of the training analysis in analytic training. Diane L'Heureux-Le Beuf's clinical diary of an analysis focusing on the narcissistic elements of oedipal conflict probes (...) the degree to which the analytic method can be applied to "nonstructured" analysands. And Nella Guidi shows the clinical value of supplementing Freud's notion of unobjectionable positive transference with the complementary notion of unobjectionable negative transference. Section II, on "Psychoanalysis and Hysteria," offers original contributions to Freud scholarship in the form of Jules Glenn's reconsideration of Dora's "Dynamics, Diagnosis, and Treatment"; William McGrath's analysis of the way Freud's hostility to religious superstition gained expression in his early work on hysteria; and Marian Tolpin's self-psychological reprise on the case of Anne O. The section concludes with Elisabeth Young-Bruehl and Sarah Cummin's provocative "What Happened to 'Anorexie Hysterique'?" which questions the contemporary separation of anorexia from hysteria and explore the sociohistorical reasons the separation came about. Section III, "Clinical and Theoretical Studies," begins with Nancy Kobrin's discussion of Freud's ideas about autonomy, including the terms Freud used and the way Strachey translated them into English. Her goal is to deepen our understanding of how Freud spoke and thought about an individual's sense of self. Frank Summers shows how object relations principles, which are shared by various object relations theories, can inform the conduct of analysis at all levels of pathology, including neurosis. And Henry Smith examines the meaning and value of the "analytic surface," a metaphor that highlights the relationship between the analyst's attention and the patient's attention. A final section on "Applied Psychoanalysis" offers contemporary examples of applied analytic inquiry in anthropology, art, and literature. Roy Grinker, III and Roy Grinker, Jr., in a methodological contribution to psychoanalytic anthropology, examine what is revealed when a native people are asked to retell a story introduced by them by their Western observers. Danielle Knafo explores the art and life of the Mexican surrealist Frida Kahlo through the concepts of the mirror, the mask, and the masquerade. And David Werman closes the volume with a comparative study of Edgar Allan Poe's and James Ensor's obsession with revenge, and the role it played in Poe's writing and Ensor's etchings, respectively. Bringing readers the influential reform proposals of Thomae, a rich sampling of recent Freud scholarship, applied contributions traversing three disciplines, and original clinical contributions reflecting American and European sensibilities, Volume 21 of _The Annual_ is true to the spirit of this distinguished series. It testifies to the scope of analytic inquiry, and it exemplifies the yield of such inquiry in the hands of gifted scholars and clinicians. (shrink)

Volume 24 of _The Annual_ opens with a memorial tribute to the late Merton M. Gill, a major voice in American psychoanalysis for half a century. Remembrances of Gill by Robert Holt, Robert Wallerstein, Philip Holzman, and Irwin Hoffman are followed by thoughtful appreciations of Gill's final book, _Psychoanalysis in Transition: A Personal View_, by John Gedo, Jerome Oremland, Arnold Richards and Arthur Lynch, Joseph Schachter, and Bhaskar Sripada and Shara Kronmal. Section II offers four papers from a major conference (...) on "Mind/Brain" held in Osaka, Japan. In addition to publishing two clinical papers by the Chicago analyst John Gedo, _The Annual_ introduces readers to two prominent Japanese neuroscientists whose work is relevant to psychoanalysis. Hiroshi Utena links brain development to the individual's freedom to make optimal adaptive choices, whereas Makoto Iwata outlines the modular organization of vision in the brain and then illustrates each modular potential by examining the paintings of four artists: Mondrian, Duchamp, Seurat, and Rothko. Kenneth Newman's sensitive consideration of analyst self-discourse as the outcome of successful management of the countertransference and Frank Summers' astute assessment of the place of self psychology in the history of psychoanalytic ideas are followed by three engaging and instructive studies in applied analysis: Elaine Caruth and Milton Eber's examination of Woody Allen's _The Purple Rose of Cairo _as a metaphoric depiction of the blurring of boundaries in psychotherapy; Frank and Annette Lachmann's study of the creative process of Henrik Ibsen as a self-transformational response to narcissistic injury; and W. W. Meissner's exploration of the role of shame in Vincent van Gogh's life and art. The volume concludes with a provocative contribution to psychoanalytic history: J. Bos's social-constructivist rereading of the _Minutes of the Vienna Psycho-Analytic Society_ with an eye to illuminating why and how psychoanalysis changed during its early years. True to its distinguished lineage, volume 24 of _The Annual_ continues to broaden the conceptual, clinical, and historical vistas of its readers. Moreover, with its revealing reminiscences and substantive appraisals of Merton Gill, this volume becomes a fascinating marker in the very psychoanalytic history it helps recount. (shrink)

We offer a new outlook on the vexed question of the reference of natural-kind terms. Since Kripke and Putnam, there is a widespread assumption that natural-kind terms function just like proper names: they designate their referents directly and they are rigid designators: their reference is unchanged even in worlds in which the referent lacks some or all the properties associated with it in the actual world, and which are useful to us in identifying that referent. There have, however, been heated (...) debates about what should be taken as a natural-kind term. Some challenge the very existence of a separate category of natural-kind terms ; some their being directly referential ; some raise the possibility that direct reference extends to terms beyond those usually assumed to fall under the category, e.g. to ‘polemical’ terms. When these debates turn on the question of what natural kinds are, they take on a strong epistemological or metaphysical dimension. We think the issues can be clarified within the limits of the philosophy of language: by looking into what ranges of general terms are perceived by speakers as rigid designators of natural kinds. The first step to take is to ground the various kinds of semantic externalism in distinct brands of semantic deference. This we define as speakers’ being disposed to use words in line with the norms of their linguistic community and as consenting to being corrected when it is manifest that their use and understanding of a word does not match common practice. When those dispositions are present, speakers defer semantically to something beyond themselves. Here, our focus is on spotting the words for which speakers would defer not to the current usage of the word in the linguistic community, nor to the current experts of the field to which the word pertains, but ultimately to the very nature of the referent of the term. When speakers’ deference conforms to that pattern, we argue, that is evidence that indexical externalism provides the right metasemantic account of how the meaning of the word is determined. In other words, one can say that the word is treated like a natural-kind term. But how can patterns of deference be measured? In an ongoing survey, participants are confronted with conditions that may prompt them to revise certain classificatory statements, e.g. An emu is a bird. Each condition makes salient one of the targets we have identified for deference: the community usage, the experts, the ‘world as it is’. In the condition that seeks to tap into the latter kind of deference, participants are presented with a scenario in which future scientific discoveries result in excluding from the extension of a term certain members currently thought to fall under that extension, e.g. discoveries that require excluding certain species now thought to be birds from the Aves class. The scenario is such that it is clear that the ‘discoveries’ bring us closer to the actual essence, if there is one, of birds. Our reasoning is that, if participants significantly modify their statements in the light of that scenario, they can be taken to ‘defer’ to the nature of the referent, thus vindicating indexical externalism. We test if words not normally assumed to be natural-kind terms – for instance summer, contract or rape – exhibit patterns of deference similar to those for bird. If so, then there’s a case for an extension of indexical externalism beyond the usual set of terms. What would be shown in this way is that speakers have something like realist intuitions with respect to words whose meaning is usually taken to be purely conventional or polemical. We are at the pre-test stage for the survey. We cannot yet report on our results. We should, however, have initial results by March, which, we believe, will enrich the observations made by previous empirical studies. References: Braisby, N., Franks, B. & Hampton, J. 1996. Essentialism, word use, and concepts. Cognition 59, 247-74./Genone, J. & Lombrozo, T. 2012. Concept possession, experimental semantics, and hybrid theories of reference. Philosophical Psychology 25, 717-742./Häggqvist, S. & Wikforss, Å. 2015. Experimental semantics: the case of natural kind terms, in J. Haukioja, Experimental Philosophy of Language, London, Bloomsbury./Jylkkä, J., Railo, H. & Haukioja, J. 2009. Psychological essentialism and semantic externalism: Evidence for externalism in lay speakers’ language use. Philosophical Psychology 22, 37-60./Mallon, R., Machery, E., Nichols, S. & Stich, S. 2009. Against arguments from reference, Philosophy and Phenomenological Research 79, 332-356./ Marconi, D. 1997. Language, Speech, and Communication. Lexical Competence. Cambridge : MIT Press./Moravcsik, J. 2016. Meaning, Creativity, and the Partial Inscrutability of the Human Mind, 2nd ed. Stanford: CSLI./Schroeter, L. & Schroeter, F. 2014. Normative concepts: a connectedness model, Philosophers’ Imprint 14, 1-26./ Wikforss, Å. 2010. Are natural kind terms special?, in H. Beebee and N. Sabbarton-Leary, The Semantics and Metaphysics of Natural Kinds, New York, Routledge, 64-83. (shrink)

As the pluralization in the title of MITECS suggests, and as many reviewers have noted, the stance that we adopted as general editors for this project was ecumenical. We were particularly concerned to generate a volume whose range of topics and perspectives indicated that “cognitive science” was different things to different groups of researchers, and that many even fundamental questions remain open after at least four decades of various interdisciplinary ventures. Implicit in this view is a wariness of any putative (...) magic key to understanding the complexities of cognition in all of its diversity, and the hope that by providing a forum in which this range of work could be reviewed by anyone with time and inclination, the field as a whole would be better positioned to reflect on its future directions. Readers of the preceding reviews might be interested in a few words about the development of the project. Contracted in the early summer of 1995, MITECS began as a volume projected at half of its eventual size, but with roughly the same scope it has in published form. The general editors, Frank Keil and myself, had been thinking about a volume of this sort independently over the preceding year or so, and so much of the structure of the volume was already outlined by mid-1995. Thus, we were able to move relatively quickly in the second half of 1995 to assemble a team of 9 advisory editors for the six sections that constitute the organization of the volume; as reviewers have noted, the presence of these sections in the print version is manifest primarily by the six overview essays that occupy the first 100 or so pages in MITECS. (shrink)

The Frankish Emperor Louis, only surviving son of Charlemagne, always made it clear that he understood his rule over the Franks as derived directly from God. In 833, however, Louis had to face the second rebellion within three years, and this time, while preparing battle against his three sons, he was deserted by his army on the so-called Field of Lies near Colmar in Alsace and thus was informally deposed. Among those who played an active part in the events in (...) Colmar and later in Compiègne, where Louis was forced to accede to a public penance, was Archbishop Agobard of Lyon. His ‘Libri apologetici’, written in the summer and autumn of 833, bear powerful witness to the difficulties that contemporaries experienced when trying to legitimate the rebellion against a ruler believed to be installed by God. (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)

Los teóricos de la democracia dejaron de lado la pregunta de quién legalmente forma parte del "pueblo" autorizado, pregunta que atraviesa a todas las teoría de la democracia y continuamente vivifica la práctica democrática. Determinar quién constituye el pueblo es un dilema inabordable e incluso imposible de responder democráticamente; no es una pregunta que el pueblo mismo pueda decidir procedimentalmente porque la propia premisa subvierte las premisas de su resolución. Esta paradoja del mandato popular revela que el pueblo para ser (...) mejor comprendido como una demanda política, como un proceso de subjetivación, surge y se desarrolla en distintos contextos democráticos. En Estados Unidos el disputado poder para hablar en beneficio del pueblo deriva de un excedente constitutivo heredado de la era revolucionaria, a partir del hecho de que desde la Revolución el pueblo ha sido por vez primera encarnado por la representación y como exceso de cualquier forma de representación. La autoridad posrevolucionaria del vox populi deriva de esa continuamente reiterada pero nunca realizada referencia a la soberanía del pueblo a partir de la representación, legitimidad a partir de la ley, espíritu a partir de la letra, la palabra a través de la palabra. Este ensayo examina la emergencia histórica de este exceso de democracia en el período revolucionario, y cómo este habilita a una subsecuente historia de "momentos constituyentes", momentos cuando subautorizados -radicales, entidades autocreadas-, se apoderan del manto de la autoridad, cambiando las reglas de la autoridad en ese proceso. Estos pequeños dramas de reclamos de autoridad política para hablar en nombre del pueblo son felices, aun cuando explícitamente rompan con los procedimientos o reglas estatuidas para representar la voz popular. -/- Momentos constituyentes: paradojas y poder popular en los Estados Unidos de América posrevolucionarios [traducción], Revista Argentina de Ciencia Política, N°15, EUDEBA, Buenos Aires, Octubre 2012, pp. 49-74. ISSN: 0329-3092. Introducción de “Constituent Moments: Enacting the People in Postrevolutionary America”, de Jason Frank [Ed.: Duke University Press Books, enero de 2010. ISBN-10: 0822346753; ISBN-13: 978-0822346753]. (shrink)

A book that pulls together the results of research by several scholars to provide a fresh look at the rich heritage of ideas that Wright contributed to the theory and practice of architecture, with special emphasis on the ordering of structuring of architectural experience. An attempt is made to convey an understanding of Wright's contributions through a direct analysis of his designs as they exist or existed in reality. The authors take a different look at Wright's work in a search (...) for clarity and understanding. (shrink)

Prescriptive political and moral theories contain ideas about what human beings are like and about what, correspondingly, is good for them. Conceptions of human “nature” and corresponding human good enter into normative argument by way of support and justification. Of course, it is logically open for the ratiocinative traffic to run the other way. Strongly held convictions about the rightness or wrongness, goodness or badness, of certain social institutions or practices may help condition and shape one's responses to one or (...) another set of propositions about what people are like and what, in consequence, they have reason to value. (shrink)

At the most general level I am interested in how we come to make sense of the world around us. Much of this research involves asking how intuitive explanations and understandings emerge in development and how they are related to notions of cause, mechanism and agency. These relations are linked to broader questions of what concepts are, how they change with development and increasing expertise and how they are structured in adults.

I'm pleased to have been offered the chance of replying to Joseph Frank's criticisms . He is a courteous opponent, though capable of a certain asperity. . . . Frank complains that his critics appear incapable of attending to what he really said in his original essay. It is the blight critics are born for; and it is undoubtedly sometimes caused by the venal haste of reviewers, and sometimes by native dullness, and sometimes by malice. But there are (...) other reasons why an author may sometimes feel himself to be misrepresented. One is that a genuinely patient and intelligent reader may be more interested in what the piece under consideration does not quite say than in what is expressly stated. Another is the consequence of fame. Frank's original article is over thirty years old; it crystallised what had been for the most part vague notions, ideas that were in the air, and gave them a memorable name. "Spatial form" entered the jargon of the graduate school and began an almost independent existence. The term might well be used by people who had never read the essay at all; or they might casually attribute to him loose inferences made by others from the general proposition—inferences he had already disallowed and now once more contests. It must be difficult, particularly for an exasperated author, to distinguish between these causes of apparent misrepresentation. But sometimes it can be done; and then it will appear that the effect of the first is far more interesting than that of the second cause. For the suggestion then must be that the author has repressed a desire to take a position which, in his manifest argument, he differentiates from his own. This, as it happens, is what he advances as an explanation of certain ambiguities in my Sense of an Ending; the least one can say is that it is perfectly possible. Frank Kermode is the author of The Sense of an Ending: Studies in the Theory of Fiction, Continuities, and Shakespeare, Spenser, Donne: Renaissance Essays; his works also include The Classic and The Genesis of Secrecy. His contributions to Critical Inquiry are "Novels: Recognition and Deception" , "A Reply to Denis Donoghue" , and "Secrets and Narrative Sequence". (shrink)

In this memorial essay on Sir Frank Kermode (1919–2010), the author focuses on his own exchange of views with Kermode during the 1970s. In Kermode's book The Sense of an Ending (1966), he had criticized Frank's essay “Spatial Form in Modern Literature” (1945) as part of a larger critique of what the Romantic-Symbolist tradition of English poetry had become in the twentieth century. Yeats, Pound, Eliot, and other late Symbolists had turned artists into advocates of an irrational wisdom (...) superior to reason and common sense, thus isolating—so Kermode argued—the world of art from that of ordinary human concerns. Rejecting their view of art, he turned instead to a pre-Romantic tradition (including Spenser and Milton) that the Symbolists had rejected. Among modern writers, Kermode turned to Wallace Stevens, who became his foil for Yeats, Eliot, and Pound, as well as the most important influence on his own later thinking. Joseph Frank, in this essay, recalls the combination of acerbic intelligence, social concern, gentility, and finally friendship that characterized his debate over these questions with Kermode. Frank recalls as an indication of his respect and admiration for Kermode that he wrote, in 1977, that, even if his own theory of spatial form were to be shown worthless, it would still have value in having provided some of the stimulus for Kermode to write The Sense of an Ending. (shrink)

In what follows I argue for two interrelated theses: that early Buddhism is not a form of empiricism, and that consequently there is no basis for an early Buddhist apologetic which contrasts an empirical early Buddhism with either a metaphysical Hinduism on the one hand, or with a baseless Christianity on the other.

This paper argues that God may create and exist in any possible world, no matter how much suffering of any sort that world includes. It combines the traditional free will defence with the notion of an ‘occasion’ for good or evil action and limits God's responsibility to the creation of these occasions. Since no possible world contains occasions for more evil than good action, God is morally permitted to create any possible world. With regard to suffering that is not due (...) to free will, namely the suffering of beings who are not moral agents, the paper questions the idea that the relief of such suffering is a moral perfection. (shrink)

Wind, water, and molten rock constantly tear apart and resculpt the natural world we live in, and people have always struggled to create structures that will permanently establish their existence on the land. Frank Golhke has committed his camera lens to documenting that fraught relationship between people and place, and this retrospective collection of his work by John Rohrbach reveals how people carve out their living spaces in the face of constant natural disruption. An acclaimed master of landscape photography, (...) Golhke explores in _Accommodating Nature_ how people configure the places where they live, work, and commune, both on an everyday level and in the aftermath of catastrophic destruction. Whether a ranch house anchored fast on an endless Texas plain, the shattered buildings and whipped trees left by a category 5 tornado, or the jagged cliffs of ash and rock created by the volcanic eruption of Mount St. Helens, the photographs unearth the ways in which new homes and lives emerge from the fragments of the old. Thought-provoking essays by Rebecca Solnit, Frank Gohlke, and John Rohrbach expand upon the issues raised by the images, contemplating the complexities of human and cultural geography and the relationships we have with our respective place. An arresting and vibrant visual essay combining magnificent vistas with intimate emotional detail, _Accommodating Nature_ exposes the intricate threads that bind our lives to the land surrounding us. (shrink)

This paper discusses ethical issues surrounding Integrated Assessment Models (IAMs) of the economic effects of climate change, and how climate economists acting as policy advisors ought to represent the uncertain possibility of catastrophe. Some climate economists, especially Martin Weitzman, have argued for a precautionary approach where avoiding catastrophe should structure climate economists’ welfare analysis. This paper details ethical arguments that justify this approach, showing how Weitzman’s “fat tail” probabilities of climate catastrophe pose ethical problems for widely used IAMs. The main (...) claim is that economists who ignore or downplay catastrophic risks in their representations of uncertainty likely fall afoul of ethical constraints on scientists acting as policy advisors. Such scientists have duties to honestly articulate uncertainties and manage (some) inductive risks, or the risks of being wrong in different ways. (shrink)

We make a huge variety of claims framed in vocabularies drawn from physics and chemistry, everyday talk, neuroscience, ethics, mathematics, semantics, folk and professional psychology, and so on and so forth. We say, for example, that Jones feels cold, that Carlton might win, that there are quarks, that murder is wrong, that there are four fundamental forces, and that a certain level of neurological activity is necessary for thought. If we follow Huw Price's Carnapian lead, we can put this by (...) saying that we make many claims in many different frameworks. (shrink)