Objective: To measure the stability of life-sustaining treatment preferences amongst older people and analyse the factors that influence stability. Design: Longitudinal cohort study. Setting: Primary care centres, Granada (Spain). Eighty-five persons age 65 years or older. Participants filled out a questionnaire with six contexts of illness (LSPQ-e). They had to decide whether or not to receive treatment. Participants completed the questionnaire at baseline and 18 months later. Results: 86 percent of the patients did not change preferences. Sex, age, marital status, (...) hospitalisation, and self-perception of health and pain did not affect preferences. Morbidity and the death of a relative did. Conclusion: Stability of preferences of older persons in relation to end-of-life decisions seems to be more probable than instability. Some factors, such as the death of a relative or the increase in morbidity, can change preferences. These findings have implications for advance directives (ADs) and advance care planning. (shrink)

This paper evaluates the content of the syllabi of postgraduate courses on public health ethics within accredited schools and programs of public health in the United States in order to gain an awareness of the topics addressed within these courses. Methods: Data was gathered via the analysis of syllabi of courses on PHE. In 2012, information was requested by e-mail from the 48 schools and 86 PH programs accredited by the U.S. Council on Education for Public Health for 2012. The (...) “Epidemiology and PHE Syllabi” project of the University of Miami also was consulted. A table of topics was drawn up in order to carry out content analysis of the documents. Results: Data was obtained from 25 schools and 36 accredited programs ; 36 syllabi were gathered and 75 different topics were found. Of these, 38 topics were addressed in six or more syllabi and can be grouped as follows: foundations of PHE; autonomy and its limits; infectious disease control; justice; research ethics; health education and promotion; environmental and occupational health; screening; genetics; privacy and confidentiality; and community-based practice and vulnerable populations. Conclusions: The analyzed syllabi show high variability in curricular content. The debate with regard to whether a core curriculum on PHE should be established is ongoing. The results of this work might be of interest for schools and programs of PH in other countries or regions of the world in order to develop or ameliorate their own PHE syllabi. (shrink)

The accuracy of proxies when they interpret advance directives or apply substituted decision-making criteria has been called into question. It therefore became important to know if the Andalusian Advance Directive Form can help to increase the accuracy of proxies' predictions. The aim of this research was to compare the effect of the AADF on the accuracy of proxies' predictions about patients' preferences with that gained from informative and deliberative sessions about end-of-life decision making. A total of 171 pairs of patients (...) and their proxies were randomized to three groups. The control group's answers to the Life Sustaining Preferences Questionnaire were compared with their proxies' answers to the same questionnaire. In one intervention group, the patients had already completed the AADF and given it to their proxies, who used it to guide their own answers to the LSPQ. In the second intervention group, both patients and proxies attended two educative sessions guided by trained nurses and later filled in the LSPQ. Comparisons of accuracy and other variables showed a strong association with the discussion group. The findings show that promoting communication between patients and their proxies improves the accuracy of proxies' predictions much more than isolated use of the AADF form. (shrink)

Spain’s Roma community has its own cultural and moral values. These values influence the way in which end-of-life decision-making is confronted. The objective of this study was to explore the perspective of Roma women on end-of-life decision-making. It was a qualitative study involving thirty-three Roma women belonging to groups for training and social development in two municipalities. We brought together five focus groups between February and December 2012. Six mediators each recruited five to six participants. We considered age and care (...) role to be the variables that can have the most influence on opinion regarding end-of-life decision-making. We considered the discussion saturated when the ideas expressed were repeated. Data analysis was carried out according to five steps: describing, organizing, connecting, corroborating/legitimating, and representing the account. The main ideas gleaned from the data were as follows: the important role of the family in end-of-life care, especially the role of women; the large influence of community opinion over personal or family decisions, typical of closed societies; the different preferences women had for themselves compared to that for others regarding desired end-of-life care; unawareness or rejection of advance directives. Roma women wish for their healthcare preferences to be taken into account, but “not in writing.” The study concluded that the success of end-of-life healthcare in Roma families and of their involvement in the making of healthcare decisions depends upon considering and respecting their idiosyncrasy. (shrink)

Using as a springboard a three-way debate between theoretical physicist Lee Smolin, philosopher of science Nancy Cartwright and myself, I address in layman’s terms the issues of why we need a unified theory of the fundamental interactions and why, in my opinion, string and M-theory currently offer the best hope. The focus will be on responding more generally to the various criticisms. I also describe the diverse application of string/M-theory techniques to other branches of physics and mathematics which render the (...) whole enterprise worthwhile whether or not “a theory of everything” is forthcoming. (shrink)

The putative Pueyo’s vaccine was a commercial venture that obtained marketing authorization in 1946, a turbulent period of Argentine history. After a few months, health authorities withdrew financial support from the state to buy the vaccine and required patients to sign a written consent to receive that product. An independent investigation did not find any evidence of benefit in non-clinical and clinical evaluation of the putative vaccine.

This study examines the ethical dilemmas and difficulties encountered by Portuguese school psychologists. As part of a larger survey, participants were asked about ethical issues faced in daily practice and asked to describe ethical incidents. Of the 477 respondents, 274 reported 441 ethically troubling or challenging situations. Responses were coded into a six-category system based on the code of ethics of Portuguese psychologists. Most of the reported dilemmas concerned privacy and confidentiality principles. Results are discussed in light of relevant literature (...) and international findings. Implications for the development of the profession and future research are provided. (shrink)

The current training model being used in higher education advocates the acquisition of competences aimed at providing students with all-round training that will enable them to tackle their future work responsibilities effectively. This encompasses a number of different competences, most notably the transversal kind, especially in view of the important role they play in shaping the profile of any professional individual. The active learning methods applied to group work have shown to be the most suitable for achieving these competences. From (...) this perspective, and considering their relevance, we present the results of a study that addresses the perceptions held by students from Education Degrees regarding the extent to which transversal competences are acquired by implementing active learning methods. The students perceive group work as a dynamic that teaches them how to be more self-critical and committed to group-oriented tasks, thus encouraging communication skills, personal relationships and motivation. However, a lesser degree of acquisition has been recorded in other equally important competences. As such, it is necessary to promote these learning methods from the start, carefully designing and planning the curriculum structure as well as the tasks to be performed in order to avoid any negative implications that may arise. (shrink)

My aim in this paper is to attempt a philosophical reading of M. Karagatsis’ novel Kitrinos Fakelos (1956), focusing my analysis on the passions and the emotions of its fictional characters, aiming at demonstrating their independence as well as the presentation of their psychography in Karagatsis’ novel where the description of the emotions caused by love is a dominant feature. In particular, I will examine the expression of desire, love (erôs) and sympathy in this novel – passions and emotions that (...) play an important role to moral life and human existence in general. I will be approaching these issues from the point of view of moral philosophy, analyzing the passions and the emotions expressed by the fictional characters in Kitrinos Fakelos, and in particular of the fictional character of Manos Tasakos. At the same time, I will attempt to show the philosophical influences that M. Karagatsis has received in his literary work, and especially in his novel Kitrinos Fakelos, by the philosophical thought of Friedrich Nietzsche. In addition, I will try to demonstrate the contrast between the Nietzschean moral model and that of both ancient and contemporary virtue ethical theory, in relation to the traditional interpretation of the work of Nietzsche’s that Karagatsis adopts, along with many of his contemporaries in Greece from the beginning of the 20th century until the 70’s at least. (shrink)

The “representation problem” in abstract algebraic logic is that of finding necessary and sufficient conditions for a structure, on a well defined abstract framework, to have the following property: that for every structural closure operator on it, every structural embedding of the expanded lattice of its closed sets into that of the closed sets of another structural closure operator on another similar structure is induced by a structural transformer between the base structures. This question arose from Blok and Jónsson abstract (...) analysis of one of Blok and Pigozzis’s characterizations of algebraizable logics. The problem, which was later on reformulated independently by Gil-Férez and by Galatos and Tsinakis, was solved by Galatos and Tsinakis in the more abstract framework of the category of modules over a complete residuated lattice, and by Galatos and Gil-Férez in the even more abstract setting of modules over a quantaloid. We solve the representation problem in Blok and Jónsson’s original context of M-sets, where M is a monoid, and characterise the corresponding M-sets both in categorical terms and in terms of their inner structure, using the notions of a graded M-set and a generalized variable introduced by Gil-Férez. (shrink)

Since the beginning of the 20th Century to the present day, it has rarely been doubted that whenever formal aesthetic methods meet their iconological counterparts, the two approaches appear to be mutually exclusive. In reality, though, an ahistorical concept is challenging a historical analysis of art. It is especially Susanne K. Langer´s long-overlooked system of analogies between perceptions of the world and of artistic creations that are dependent on feelings which today allows a rapprochement of these positions. Krois’s insistence on (...) a similar point supports this analysis. - I - Unbestritten bis heute gilt, formwissenschaftliche und ikonologische Methoden scheinen sich grundsätzlich auszuschließen, da die ersteren auf ahistorischen und die letzteren auf historischen Grundlagen aufbauen. Dem entgegen soll mit diesem Beitrag gezeigt werden, wie insbesondere die Forschungen Susanne K. Langers und ergänzend diejenigen von John M. Krois eine Annäherung beider Positionen ermöglichen. (shrink)

Attitudes towards elder people in society depend on the pace of its technological and economical development. Fast changes not only encourage discrimination on the ground of age but also blur the perception of both individual and collective benefits from the extension of life length. This article emphasizes the necessity of finding new ideas of elders’ active social participation. Furthermore it points out the conceptions of creating city areas that favor development and integration of all age groups. It underlines the significance (...) of older generations in process of sustaining cultural continuity in information and knowledge societies by contrasting those ideas with the wisdom society project. ** Ocena obecności ludzi starych w społeczeństwie zależy od tempa rozwoju technologicznego i gospodarczego. Szybkie zmiany sprzyjaj¸a} dyskryminacji ze wzglȩdu na wiek oraz przyczyniaj¸a} siȩ do niedostrzegania jednostkowych i zbiorowych korzyści płyn¸a}cych ze wzrostu długości życia ludzkiego. Artykuł zwraca uwagȩ na niezbȩdność poszukiwania pomysłów aktywnego uczestnictwa seniorów w życiu społecznym, jak też przybliża koncepcjȩ kreowania przestrzeni miejskich sprzyjaj¸a}cych rozwojowi i integracji wszystkich grup wiekowych. Praca podkreśla znaczenie starszego pokolenia w procesie utrzymania ci¸agłości kulturowej w społeczeństwach informacyjnych i społeczeństwach wiedzy poprzez przeciwstawienie tych idei projektowi społeczeństwa m¸adrości. (shrink)

Ethics of Richard M. Hare is widely considered as a classical example of the strong internalistic theory of motivation: he is thought to believe that having a moral motive is a sufficient condition to act accordingly. However, strong internalism has difficulties with explaining the phenomenon of acrasia and amoralism. For this reason some critics charge him with developing a false theory of moral motivation. In the article I present Hare's answer to these questions by dividing the discussion about motivation into (...) three levels: semantical, epistemological, and ontological. I also explain his concept of internal motivation and argue that his theory, contrary to what his critics assume, may be called a weak motivational internalism. (shrink)

This is a review (in French) of the French translation and edition of D.M. Armstrong's Universals: An Opiniated Introduction.

The opening argument in the Metaphysics M.2 series targeting separate mathematical objects has been dismissed as flawed and half-hearted. Yet it makes a strong case for a point that is central to Aristotle’s broader critique of Platonist views: if we posit distinct substances to explain the properties of sensible objects, we become committed to an embarrassingly prodigious ontology. There is also something to be learned from the argument about Aristotle’s own criteria for a theory of mathematical objects. I hope to (...) persuade readers of Metaphysics M.2 that Aristotle is a more thoughtful critic than he is often taken to be. (shrink)

Von 1925 bis 1928 wurden im Berliner J. M. Spaeth-Verlag unter der Leitung von Hans Rosenkranz eine Reihe von Werken seinerzeit eher unbekannter, in der Retrospektive jedoch signifikanter Autoren der Zwischenkriegszeit publiziert. Der Beitrag thematisiert Rosenkranz als jungen Verleger und Bewunderer Stefan Zweigs. Er entwirft auf Grundlage der Archivüberlieferung einen neuen Blick auf die Geschichte des Unternehmens und kommentiert das damit verbundene literarische Programm: Welche wichtigen verlegerischen Projekte wurden in jener kurzen Zeit unternommen? Welche Rolle hatte Stefan Zweig für das (...) Zustandekommen einiger Titel und besonders in den letzten Wochen der Verlagsexistenz? Inwiefern lässt sich Programmgestaltung und ökonomische Entwicklung von J. M. Spaeth als paradigmatisch für jüdische Verlage in der Weimarer Republik verstehen? Dazu wird erstmals das Scheitern des Unternehmens während der „Bücherkrise“ Ende der 1920er Jahre aus den Quellen rekonstruiert. (shrink)

Resumen Nuestro trabajo presenta una nueva propuesta de lectura de una inscripción hallada en Emporiae en honor de un M. Iuṇ[ius] cuya identidad tratamos de determinar, planteando la posibilidad de que se trate del pretor M. Iunius citado por Cicerón en su discurso Pro Cluentio y de que, por lo tanto, la inscripción corresponda a su posible proconsulado en Hispania Citerior hacia el año 68 a. C. Dicho supuesto nos permite al mismo tiempo poner al personaje en relación con las (...) circunstancias fundacionales de la ciudad romana de Emporiae, cuyo nacimiento sitúan hoy ciertos arqueólogos en las primeras décadas del siglo I a. C. (shrink)

Zusammenfassung Ellen M. Wood hat mit ihrer Studie „Retreat from Class. A ‚new true socialism“ bereits 1986 eine überzeugende Kritik des Postmarxismus vorgelegt. Der Artikel zeichnet deren zentrale Punkte nach und zeigt, dass diese auf einer innovativen Interpretation des historischen Materialismus beruhen, die als ‚politischer Marxismus‘ bezeichnet wird. Gleichwohl bleibt zu fragen, ob Woods Kritik nicht zugleich Annahmen des klassischen Marxismus reproduziert, die historisch wie systematisch zweifelhaft sind.

Artykuł przedstawia sformułowaną przez M.A. Krąpca propozycję filozoficznego wyjaśnienia bytu społecznego na podstawie rozumienia człowieka jako spotencjalizowanej osoby. Kluczowe dla zaprezentowanej w artykule koncepcji M.A. Krąpca jest filozoficzne ujęcie dobra wspólnego rozumianego personalistycznie, jako analogicznie wspólny wszystkim ludziom cel: aktualizacja potencjalności osobowych człowieka, a więc rozwój moralny, wolitywny i twórczy każdego człowieka. Zapewnienie środków realizacji tak rozumianego dobra wspólnego stanowi zasadniczą rację bytu społeczeństwa i państwa. Wszelki byt społeczny jest bowiem — jako rzeczywistość relacyjna — ontycznie „słabszy” niż istniejąca w (...) sposób podmiotowy osoba ludzka. Dobro wspólne rozumiane personalistycznie stanowi jedyne dobro w pełni nieantagonistyczne: rozwój osobowy poszczególnych ludzi nikogo nie uszczupla, a wszystkich ubogaca. Zatem nie stanowi ono podporządkowania jednostki dobru całości rozumianej w sposób kolektywny. Jednocześnie pozwala na wskazanie racjonalnych podstaw dla konieczności istnienia rozmaitych społeczności, bez których rozwój osobowy nie mógłby się dokonać. Zaproponowana w artykule koncepcja M.A. Krąpca, akcentując prymat osoby względem bytu społecznego, jednocześnie wskazuje na fakt konieczności istnienia różnorakich społeczności jako ugruntowanych w ludzkiej spotencjalizowanej naturze środowisk umożliwiających rozwój osobowy człowieka. Tym samym pozwala na przekroczenie dychotomii indywidualizm — kolektywizm. (shrink)

Jean Jacques Rousseau definía como "segundo parto" a la transición que supone la adolescencia, al nacimiento de la nueva identidad tras la crisis. La adolescencia coge siempre desprevenido, comienza y con ella llega un tsunami de cambios y transiciones de cuerpo y mente. Por un lado la imaginación se desborda, la sensibilidad está a flor de piel, se vive con grandes dosis de vitalidad y alegría y con la certeza de que todo es posible; hasta cambiar el mundo. Sin embargo (...) se reconoce también al adolescente por los desarreglos emotivos a los que están expuestos, los sentimientos de angustia, los miedos exagerados al ridículo, la crisis de identidad y la fuerte falta de confianza en sí mismos. (shrink)

PART 9: GRAVITY'S ETHICSThis isn't a hospital! It's an insane asylum! And it's your fault! Shaking her head lightly, Doctor Van Tintelen leaves the room and softly closes the door. Empathy streaming through her veins, she never gets used to the unpolished grief of a patient she has to tell of inevitable death, never. She thinks, “There should be pipes to drain the tears in every room, or at least rinsing basins for grief. What a job.” The crying is that (...) of the sisters Barrio. Miranda and Monica are twins who always refer to themselves as M&M. Though Monica cries the hardest, it is Miranda who was just told that her breast cancer has spread into her liver. No more treatment available.“Don't cry, Monica, I took the risk purposely. We both knew breast cancer runs in our family. You had the test, I didn't.”“And now you see the result, Miranda, you are going to die. We aren't even fifty yet. Damn.” The irony is that the clock in the room doesn't work, its pointers silent and stiff.“Do you really think you are better off? I've never completely understood why you had the preventive double mastectomy.”“I have never felt less of a woman. You know that.”“I know, but some men felt differently about it.”The remark hurts Monica almost physically, and Miranda apologises immediately. “Sorry, sweetheart, I shouldn't have said that. The sisters embrace for the hundredth time.”“Maybe I was too much of a coward,” Miranda says, resigned, “or too proud of my breasts.” For a second she lifts the big breasts sadly with her hands. Cynically: “After all, they were my trumps in eroland.”“A coward? You? How about me?” Monica seems to calm down somewhat. “I was too afraid of the continual fear …. (shrink)

This paper aims to present a critique of naturalistic theories of violence. The context of this critique concerns the naturalization of violence, which induces the assimilation power as a form of violence. Therefore, we resumed the theses of Hannah Arendt and Michel Foucault on power and violence. The goal is not to list the differences between these authors on the subject, which are explicit in the development of the test, but show their concordance regarding the critique of power as something (...) synonymous with violence. (shrink)

This paper gives an account of the debate between F.A. Hayek and J.M. Keynes in the 1930s written for the general public. The purpose of this is twofold. First, to provide the general reader with a narrative of what happened, … More ›.

Kinetic models using enzyme kinetics are developed for the three ways that Louie proved that Rosen’s minimal (M-R)-System can be closed to efficient cause; i.e., how the “replication” component can itself be entailed from within the system. The kinetic models are developed using the techniques of network thermodynamics. As a demonstration, each model is simulated using a SPICE circuit simulator using arbitrarily chosen rate constants. The models are built from SPICE sub-circuits representing the key terms in the chemical rate equations. (...) The models include the addition of an ad hoc semi-permeable membrane so the system can achieve steady state fluxes and also to illustrate the need for all the efficient cause agents to be continually replaced. Comments are made about exactly what is being simulated. (shrink)

In this note we develop a method for constructing finite totally-ordered m-zeroids and prove that there exists a categorical equivalence between the category of finite, totally-ordered m-zeroids and the category of pseudo Łukasiewicz-like implicators.

In this paper we pursue the study of the variety of m -generalized Łukasiewicz algebras of order n which was initiated in [1]. This variety contains the variety of Łukasiewicz algebras of order n . Given , we establish an isomorphism from its congruence lattice to the lattice of Stone filters of a certain Łukasiewicz algebra of order n and for each congruence on A we find a description via the corresponding Stone filter. We characterize the principal congruences on A (...) via Stone filters. In doing so, we obtain a polynomial equation which defines the principal congruences on the algebras of . After showing that for m > 1 and n > 2, the variety of Łukasiewicz algebras of order n is a proper subvariety of , we prove that is a finitely generated discriminator variety and point out some consequences of this strong property, one of which is congruence permutability. (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)

La idea de utopía tiene una larga historia en América y un vasto conjunto de significados. En este trabajo se interpreta a las utopías a partir de un enfoque utopológico basado en las reflexiones principalmente de M. R. Ramírez Fierro, A. A. Roig, H. Cerutti Guldberg y E. Fernández Nadal. Desde ese marco teórico se analiza una utopía concreta contemporánea de la Patagonia argentina. Se trata del barrio intercultural proyectado en San Martín de los Andes por la comunidad mapuche “Curruhuinca” (...) y la Asociación Vecinos Sin Techo de esa ciudad. Aquí, describo el carácter utópico de dicho proyecto tomando como categorías de análisis los conceptos de función y tensión utópicas en relación a los distintos aspectos que ponen en juego la interculturalidad y la emergencia de nuevas subjetividades. The idea of utopia has a long history in America and a vast array of meanings. This paper interprets utopias from a utopological approach primarily based on the reflections of M. R. Ramirez Fierro, A. A. Roig, H. Cerutti Guldberg and E. Fernández Nadal. From this theoretical framework a contemporary concrete utopia of Argentine Patagonia is analyzed. It is an intercultural neighborhood in San Martin de los Andes projected by the Mapuche community “Curruhuinca” and the Homeless Neighbors Association of that city. Here, I describe the utopian character of the project taking the concepts of function and utopian tension as categories of analysis in relation to the different aspects that involve interculturality and the emergence of new subjectivities. (shrink)

El autor entrega una visión global del barrio Yungay, desde lo conceptual y lo histórico hasta el estudio de la percepción que tienen de él sus actuales habitantes. Lo resalta como uno de los más antiguos de la ciudad de Santiago, y hoy uno de los doce barrios mayores de la comuna de Santiago. El trabajo entrega también estudios sobre sus funciones, tales como servicio de transporte, equipamientos comerciales, administrativos, sociales, culturales y de esparcimiento.