Civic education that prepares students for principled civic participation is vital to democracy. Schools face significant challenges, however, as they attempt to educate for democracy in a democracy in crisis. Parents, educators, and policy‐makers disagree about what America's civic future should look like, and hence about what schools should teach. Likewise, hyperpartisanship, mutual mistrust, and the breakdown of democratic norms are perverting the kinds of civic relationships and values that schools want to model and achieve. Nonetheless, there is strong evidence (...) that young people want to be civically engaged and are hungry for more and better civic learning opportunities. Reviving the civic mission of schools is thus a win‐win‐win. Adults want it, youth want it, and democracy needs it. We propose three means by which educators and the public can reconstruct our common purpose and achieve civic innovation to help democracy in crisis: support action civics, strengthen youth leadership outside the classroom, and engage both students and adults with “hard history” and contemporary controversies. (shrink)

This essay summarizes key insights across the essays in the Hastings Center Report's special report “Time to Rebuild: Essays on Trust in Health Care and Science.” These insights concern trust and trustworthiness as distinct concepts, competence as a necessary but not sufficient input to trust, trust as a reciprocal good, trust as an interpersonal as well as structural phenomena, the ethical impermissibility of seeking to win trust without being trustworthy, building and borrowing trust as distinct strategies, and challenges to trustworthiness (...) posed by the contingent nature of science. Together, these insights stand to advance an area of research that we believe has been historically stymied by conceptual confusion and a long‐standing insistence on treating trust as a purely instrumental good. (shrink)

Humans have undergone a long evolutionary history of violent agonistic exchanges, which would have placed selective pressures on greater body size and the psychophysical systems that detect them. The present work showed that greater body size in humans predicted increased knockout power during combative contests (Study 1a-1b: total N = 5,866; Study 2: N = 44 openweight fights). In agonistic exchanges reflective of ancestral size asymmetries, heavier combatants were 200% more likely to win against their lighter counterparts because they were (...) 200% more likely to knock them out (Study 2). Human dominance judgments (total N = 500 MTurkers) accurately tracked the frequency with which men (N = 516) knocked out similar-sized adversaries (Study 3). Humans were able to directly perceive a man’s knockout power because they were attending to cues of a man’s body size. Human dominance judgments—which are important across numerous psychological domains, including attractiveness, leadership, and legal decision-making—accurately predict the likelihood with which a potential mate, ally, or rival can incapacitate their adversaries. (shrink)

If you are looking for an accessible introduction to the essential concepts that define the field of professional ethics, then this is the book for you. Richard Hugman's A-Z of Professional Ethics offers a winning combination of breadth and concision, expertly organised to make usage intuitive and easy. Its simple A-Z structure will help you appreciate the architecture of ethics and give you a vocabulary for ethical debate. Clever cross-referencing allows you to find your own routes through the material as (...) well as signposting interesting connections between different ideas. Unique to this book are its sensitivity to cross-cultural influences and its careful integration of different professional perspectives. These give it outstanding balance and coverage. A rich source of further references, it offers readers an invaluable guide to an increasingly extensive literature. Whatever your field of study or practice (social work, health care, or therapy), this book will prove an enduring source of clarity, insight and reflection. (shrink)

What is ‘humpty-dumptying’? Do ‘arguments from analogy’ ever stand up? How do I know when someone is using ‘weasel words’? What’s the difference between a ‘red herring’ and a ‘straw man’? This superb book, now in its third edition, will help anyone who wants to argue well and think critically. Using witty and topical examples, this fully-updated edition includes many new entries and updates the whole text. New entries include: Principle of Charity Lawyer’s Answer Least Worst Option Poisoning the Well (...) Sentimentality Sunk Cost Fallacy Weasel Words ‘You would say that wouldn’t you’. _Thinking from A to Z_ may not help you win every argument, but it will definitely give you the power to tell a good one from a bad one. (shrink)

What is ‘humpty-dumptying’? Do ‘arguments from analogy’ ever stand up? How do I know when someone is using ‘weasel words’? What’s the difference between a ‘red herring’ and a ‘straw man’? This superb book, now in its third edition, will help anyone who wants to argue well and think critically. Using witty and topical examples, this fully-updated edition includes many new entries and updates the whole text. New entries include: Principle of Charity Lawyer’s Answer Least Worst Option Poisoning the Well (...) Sentimentality Sunk Cost Fallacy Weasel Words ‘You would say that wouldn’t you’. _Thinking from A to Z_ may not help you win every argument, but it will definitely give you the power to tell a good one from a bad one. (shrink)

W artykule wykazuję, że życie i twórczość Jana Jakuba Rousseau w kuriozalny sposób wpisują się w schemat tragedii greckiej. Jest to teatr jednego aktora, inspirowany przedstawieniami pierwszego tragika Tespisa. Rousseau przez całe życie z wielkim patosem gra przed światem rolę cierpiętnika, który jako człowiek jest ciemiężony przez ludzi. We wszystkich jego tekstach chodzi tylko o jego własną, jednostkowo pojętą wolność. Rzekomo broniąc tej wolności, Rousseau nakłada wiele teatralnych masek i wciela się w Boga oraz w wiele fikcyjnych postaci, dzięki którym (...) chce zmienić świat na taki, który lepiej odpowiadałby jego potrzebom. Dwa główne dzieła Jana Jakuba, _Umowa społeczna _i _Emil_, powstałe w tym samym czasie, są dramatyczną próbą połączenia _polis _z _oikos _i odtworzenia indywidualnego raju utraconego. Niebawem jego paranoja osiąga apogeum i Rousseau czuje się ofiarą powszechnego spisku przeciw niemu i czyni szaleńcze próby zachowania dla potomnych swego patologicznego dzieła, w którym występuje jako sędzia we własnej sprawie. W _Przechadzkach samotnego myśliciela _wreszcie trafia do swojego raju, ale to oznacza, że zupełnie traci kontakt z rzeczywistością i ulega iluzorycznemu utożsamieniu z wielbioną przez siebie naturą. Występując na wyimaginowanej scenie, Rousseau pewnie nie uświadamia sobie faktu, że sam jest ciemiężycielem bliskich mu osób. Cynicznie wykorzystuje bowiem sprzyjających mu ludzi, by osiągnąć życiowy sukces i potwierdzić swoją niezwykłą wielkość, oraz oddaje własne dzieci do przytułku, by nie przeszkadzały mu w karierze. W ten sposób dyskredytuje się jako człowiek i ponosi klęskę jako tragiczny twórca, ponieważ działa pod wpływem pychy (_hybris_) i nie umie adekwatnie ocenić sytuacji, w jakiej się znalazł (_hamartia_). Być może oczyszczenie z win (_katharsis_) przyniosłoby mu poddanie się medycznej terapii wodnej dla maniaków, o której pisze Foucault w _Historii szaleństwa w dobie klasycyzmu_. Rousseau jednak z niej nie korzysta, a w jego czasach nie jest jeszcze stosowana psychoanaliza Freuda, która pozwoliłaby mu opowiedzieć terapeucie wszystkie swoje sny o potędze, uwolnić się od stłumionych pragnień oraz fantazji i w końcu powrócić do świata normalnych ludzi, jako człowiek bez manii wielkości i manii prześladowczej. (shrink)

(2017) 'Interest and Agency', in Gabriel, Markus and Rasmussen, Anders Moe (eds.) German Idealism Today. De Guyter Verlag. -/- Abstract: Undeterred by Kant’s cautionary advice, contemporary defenders of free will advance substantive metaphysical theses in support of their views. This is perhaps unsurprising given the mixed reception of Kant’s solution of the conflict between freedom and natural necessity, which is supposed to vindicate reason’s withdrawal from speculation. Kant argues that neither libertarians nor determinists can win, because they deal with concepts (...) of unrestricted scope, and proposes instead to regiment the reference conditions of each concept and to specify the domain, ‘world’, proper to each. However, the precise character of this solution, its conceptual and metaphysical commitments, continues to be a matter of controversy among Kant scholars. In particular, there is ever-renewed concern about the incipient dualism of the position. Although I will be examining some of this material, my primary aim in this paper is not to make a contribution to the interpretative debate about the antinomy. Rather, I want to draw on two lessons from Kant’s treatment of the antinomy to argue for the importance of a certain way of putting the problem of human freedom. (shrink)

This book is an attempt to get to the bottom of an acute and perennial tension between our best scientific pictures of the fundamental physical structure of the world and our everyday empirical experience of it. The trouble is about the direction of time. The situation (very briefly) is that it is a consequence of almost every one of those fundamental scientific pictures--and that it is at the same time radically at odds with our common sense--that whatever can happen can (...) just as naturally happen backwards. Albert provides an unprecedentedly clear, lively, and systematic new account--in the context of a Newtonian-Mechanical picture of the world--of the ultimate origins of the statistical regularities we see around us, of the temporal irreversibility of the Second Law of Thermodynamics, of the asymmetries in our epistemic access to the past and the future, and of our conviction that by acting now we can affect the future but not the past. Then, in the final section of the book, he generalizes the Newtonian picture to the quantum-mechanical case and (most interestingly) suggests a very deep potential connection between the problem of the direction of time and the quantum-mechanical measurement problem. The book aims to be both an original contribution to the present scientific and philosophical understanding of these matters at the most advanced level, and something in the nature of an elementary textbook on the subject accessible to interested high-school students. Table of Contents: Preface 1. Time-Reversal Invariance 2. Thermodynamics 3. Statistical Mechanics 4. The Reversibility Objections and the Past-Hypothesis 5. The Scope of Thermodynamics 6. The Asymmetries of Knowledge and Intervention 7. Quantum Mechanics Appendix: Gedankenexperiments with Heat Engines Index Reviews of this book: The foundations of statistical mechanisms are often presented in physics textbooks in a rather obscure and confused way. By challenging common ways of thinking about this subject, Time and Chance can do quite a lot to improve this situation. --Jean Bricmont, Science Albert is perfecting a style of foundational analysis that is uniquely his own...It has a surgical precision...and it is ruthless with pretensions. The foundations of thermodynamics is a topic that has accumulated a good deal of dead wood; this is a fire that will burn and burn. --Simon W. Saunders, Oxford University As usual with Albert's work, the exposition is brisk and to the point, and exceptionally clear...The book will be an extremely valuable contribution to the literature on the subject of philosophical issues in thermodynamics and statistical mechanics, a literature which has been thin on the ground but is now growing as it deserves to. --Lawrence Sklar, University of Michigan. (shrink)

From the author of Quantum Mechanics and Experience, a hugely influential book that challenged key assertions by Niels Bohr and other founders of quantum mechanics, A Guess at the Riddle provides a major metaphysical overhaul of one of physics' most intractable problems-the quest to bridge quantum and classical physics in order to understand the nature of reality.

Molly Anderson’s 2020 Presidential Address for the Agriculture and Human Values Society, is a bold call to action that considers the scope and depth of the challenges facing global food systems. This call has particular relevance to scholars who are closely aligned with struggles for food justice and food sovereignty. In this discussion piece, I suggest additional nuance that builds and expands on Anderson’s three opportunities for “pushing beyond the boundaries”. First, collaborations for social and ecological change must be willing (...) to expand predominant ideas to the varied ways that people engage with food systems. Second, interactions with global social movements demands grounding our work in the hearts and minds of individuals and communities while also addressing structural concerns at the levels of governance that enable and constrain food system functions. Third, food systems thinking and action must begin with our relationships to the land and its original inhabitants. The settler colonial project is integrally connected to the dominant food system that is premised on exploitation and control of land, water and people. As scholar allies, “pushing the boundaries” demands acknowledging ways that we are complicit in unjust systems and ways that we benefit from them; doing the personal work required for unlearning and relearning; being prepared to take actions that move towards more equitable and sustainable food systems; and, accepting the potential risks and material consequences that equity demands. (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)

BackgroundIn Saudi clinical settings, benevolent family care that reflects strongly held sociocultural values is commonly used to justify overriding respect for patient autonomy. Because the welfare of individuals is commonly regarded as inseparable from the welfare of their family as a whole, these values are widely believed to obligate the family to protect the welfare of its members by, for example, giving the family authority over what healthcare practitioners disclose to patients about their diagnoses and prognoses and preventing them from (...) making informed decisions about their healthcare.DiscussionFamily dominance over the healthcare decisions of competent patients is ethically problematic when the family prevent healthcare practitioners from disclosing diagnoses and prognoses to patients who have the capacity to consent and make decisions in their own best interests. Thus, the author holds that sociocultural values ought to be respected only when they do not prevent competent patients from knowing their diagnoses and prognoses or prevent them from making their own decisions.ConclusionHealthcare practitioners should not allow patients’ families to control what can or cannot be disclosed to competent patients. This is particularly important when patients are approaching death so that they may address their material and spiritual wishes—among other needs—as they prepare for death. Justification for this position is drawn from the Maqasid Al-Shariah-based Islamic bioethics approach, from which it is possible to argue that the harm of withholding diagnoses and prognoses from patients who are imminently dying outweighs the potential benefits. (shrink)

Background Our objective was to evaluate whether the description of a machine learning (ML) app or brain imaging technology to predict the onset of schizophrenia or alcohol use disorder (AUD) influences healthcare professionals’ judgments of stigma, empathy, and compassion. Methods We randomized healthcare professionals (N = 310) to one vignette about a person whose clinician seeks to predict schizophrenia or an AUD, using a ML app, brain imaging, or a psychosocial assessment. Participants used scales to measure their judgments of stigma, (...) empathy, and compassion. Results Participants randomized to the ML vignette endorsed less anger and more fear relative to the psychosocial vignette, and the brain imaging vignette elicited higher pity ratings. The brain imaging and ML vignettes evoked lower personal responsibility judgments compared to the psychosocial vignette. Physicians and nurses reported less empathy than clinical psychologists. Conclusions The use of predictive technologies may reinforce essentialist views about mental health and substance use that may increase specific aspects of stigma and reduce others. (shrink)

Przekład na podstawie: „Do We Believe in Penal Substitution?”, Philosophical Papers 26 : 203-209. Przekład za zgodą Wydawcy Artykuł D. Lewisa rozważa dopuszczalność poniesienia kary w zastępstwie za winowajcę w odniesieniu do aktualnie obowiązującego systemu prawa karnego, w którym kara nie pełni funkcji rekompensaty, i do chrześcijańskiej interpretacji śmierci Chrystusa w kategoriach Odkupienia. Może wydawać się, że obecnie kara zastępcza nie jest akceptowana, okazuje się jednak, że de facto akceptowana jest wybiórczo. Przynajmniej niektórzy chrześcijanie rozumieją śmierć Chrystusa w kategoriach spłacenia (...) długu win grzeszników, ale jednocześnie nie dopuszczają możliwości, by przyjaciel mordercy poniósł za niego karę więzienia. Większość z nas uznaje możliwość kary zastępczej w odniesieniu do kar pieniężnych, ale nie w odniesieniu do dowolnej innej kary. W obu wypadkach w przekonaniach na temat dopuszczalności kary zastępczej wyraźnie brakuje spójności. Skoro jednak wybiórcze dopuszczenie kary zastępczej jest tak powszechne, być może nie jest pozbawione sensu. (shrink)

Research suggests that institutions affect the levels of corruption in a country. We take these arguments a step further and examine whether it is the presence of inclusive institutions and/or the credible and consistent implementation of institutions that matter, as regards corruption. We use a novel approach to theoretically conceptualise and empirically operationalise institutions along two analytically distinct dimensions: the nature of the institutions (the de jure dimension), and the extent to which they are credibly and consistently implemented over time (...) (the de facto dimension), using a panel dataset for 148 countries covering 2012 to 2018. We find that formal institutions are most effective in reducing corruption when the rules are credibly and consistently implemented. Furthermore, this effect appears to operate differently at different levels of national income. The nature of the formal institutions appears important across income levels, but particularly so at the upper middle income level, while the credible and consistent implementation of these institutions is primarily influential at upper middle income levels. We explain why this may be the case and elaborate on the policy implications. (shrink)

In The Phenomenology of Religious Belief, the renowned philosopher Michael J. Shapiro investigates how art - and in particular literature and film - can impact upon both traditional interpretations and critical studies of religious beliefs and experiences. In doing so, he examines the work of prolific and award-winning writers such as Toni Morrison, Philip K. Dick and Robert Coover. By placing their work in conjunction with critical analyses of media by the likes of Ingmar Bergman and Pier Paolo Pasolini and (...) combining it with the work of groundbreaking thinkers such as George Canguilhem, Giorgio Agamben and Slavoj Žižek, Shapiro takes a truly interdisciplinary approach to the question of how life should be lived. His assessment of phenomenological subjectivity also leads him to question the nature of political theology and extend the criticism of Pauline theology. (shrink)

En este artículo se revisa el lugar que ocupa Eckhart en L’essence de la manifestation, a fin de establecer correspondencias y afini­dades entre el místico renano y la peculiar concepción que de la fenomenología sostiene Michel Henry. Se trata de analizar la es­trecha cercanía entre el alma humana y Dios postulada por Meister Eckhart y su vinculación con la conocida noción de Vida presente en el autor francés. Henry es proclive a fundar una filosofía primera asociada a la pura autoafección, (...) describiendo la Vida sea como pura inmanencia, sea como una ipseidad algo problemática. En general, el trabajo teórico de los representantes del “giro teológico de la fenomenología francesa” (Janicaud) cuestiona al sujeto clásico de la Modernidad, sin por eso traer a colación la causa de un Dios Revelado ni el que resulta de una teología natural. Este trabajo, en suma, no es el esfuerzo de pensar a un Dios confesional ni tiene un propósito evangélico. Lejos de ello, se trata de precisar el nexo entre Henry y Eckhart, puesto en escena por aquél, y si tal nexo es coherente con lo que Henry piensa acerca de un modo de manifestación que ya no implica distancia fenomenológica alguna: la manifestación del pathos de la Vida. (shrink)

Islamic accountability system as administered in Pakistan.

Die Historische Kommission zu Berlin betreibt die Erforschung der Landesgeschichte und der Historischen Landeskunde Berlin-Brandenburgs bzw. Brandenburg-Preußens in Form von wissenschaftlichen Untersuchungen, Vorträgen, Tagungen und Veröffentlichungen sowie durch Serviceleistungen. Dabei kooperiert die Kommission auch mit anderen Institutionen und begleitet wissenschaftliche und praktische Vorhaben von allgemeinem öffentlichen Interesse. In der Schriftenreihe werden die Ergebnisse der einzelnen wissenschaftlichen Projekte der Kommission veröffentlicht.

Kat Williams and Scott R. Stroud’s essay is about televised debates, but it is also about the value of television in a democracy. In Amusing Ourselves to Death, Neil Postman argues that television is devoid of serious content, that it is superficial. But while the debates contain superficialities, they also reveal substantive issues about the candidates, the electorate, and the state of our democracy.

In this paper, we designed and developed an intelligent tutoring system for teaching Photoshop. We designed the lessons, examples, and questions in a way to teach and evaluate student understanding of the material. Through the feedback provided by this tool, you can assess the student's understanding of the material, where there is a minimum overshoot questions stages, and if the student does not pass the level of questions he is asked to return the lesson and read it again. Eventually this (...) administration is a special teacher for the students and can continue with him until he fully understands the lesson without weariness or boredom, regardless of the level of student. (shrink)

A familiar criticism of bioethics charges it with being more conceptual than practical—having little application to the “real world.” In order to answer its critics and keep its feet on the ground, bioethics must utilize the social sciences more effectively. Empirical research can provide the bridge between conceiving a moral vision of a better world, and actually enacting it.

En este artículo se establece un análisis histórico, axiológico y epistemológico de las condiciones de advenimiento de una filosofía médica abocada al estudio de la enfermedad. El examen de estas condiciones toma en cuenta los estudios clásicos y contemporáneos de la filosofía de la medicina, analizando sus distintas perspectivas y enunciados. La reflexión en torno de los supuestos y conceptos asociados a tal tipo de filosofía, localiza la enfermedad en sus distintas dimensiones: en el ámbito del acontecimiento biológico (disease), del (...) orden social (sickness), y de la experiencia vivida (illness). Tres puntos de deliberación presentan el cuerpo nodular de estos análisis: a) la constitución disciplinaria y conceptual de la enfermedad como un hecho total: variantes epistemológicas de la medicina y la filosofía antigua; b) la psicopatología en la constitución de una filosofía de la enfermedad, el análisis epistemológico de dos conceptos: normal-patológico; y c) la filosofía de la vida de G. Canguilhem, su curso antropológico y normativo en la definición de la enfermedad. (shrink)

Cheating in higher education is a significant problem. The study aims to determine nursing students’ attitudes and opinions toward cheating in exams. The type of research is descriptive. The research data were collected in the classroom environment of 716 students in day and evening education programs. The research data were collected using socio-demographic characteristics form, and the Copying Attitude Scale. Descriptive statistics, t-tests, and variance analysis were used for data analyses. The most common method of cheating was receiving answers by (...) talking to the friend sitting next to the student. The rate of cheating was high in both the day and evening education students. The students reported that most of the cheating occurred in final exams and high-credit major courses. Learning type (day/evening education programs) is not effective in cheating. High-credit major courses have increased the fear of failing the course. The most important reason for cheating in exams was the fear of failing a course. (shrink)

Drawing on philosophical pragmatism, Tamanaha formulates a framework for a realistic approach to socio-legal theory. The strengths of this approach are contrasted with that of the major schools of socio-legal theory by application to core issues in this area. Thus Tamanaha explores the problematic state of socio-legal studies, the relationship between behaviour and meaning, the notion of legal ideology, the problem of indeterminacy in rule following and application, and the structure of judicial decision making. These issues are tackled in a (...) clear and concise fashion while articulating a social theory of law that draws equally from legal theory and socio-legal theory. `This book provides a useful, and at times provocative, review of recent developments in legal theory. Because it covers considerable territory, it should be a good addition to one's professional library... there is much to commend in this book. It is well written, ably argued, and generally knowledgeable. It treats controversial topics forthrightly...an excellent review of the legal theory literature.... It should provide a worthwhile venture into familiar debates rendered from a perspective that owes allegiance to no side.' Law and Politics Book Review `by any criterion and excellent book...Tamanaha has produced a work which should feature as a core text in jurisprudence courses' Oxford Journal of Legal Studies `This is the most significant piece of work for anybody in Jurisprudence, Socio-Legal Studies, or Legal Theory' Neil MacCormick `a rich insight into almost every question legal theory has vexed itself over the past twenty-five years' Stanley Fish. (shrink)

Bu makalede, Abbâsî dönemi şairlerinden İbnu’r-Rûmî’nin Abbâsî hanedanlığının bir üyesi olan Abdülmelik b. Sâlih için nazmettiği methiyesinin tematik bir incelemesinin yapılması planlanmaktadır. Bu analiz, İbnu’r-Rûmî’nin methiyesinin karmaşık katmanlarına derinlemesine bir bakış sağlamaktadır. Methiye, bilhassa Abbâsî döneminin Arap edebî geleneğinde önemli bir yeri bulunan şiirsel bir ifade biçimidir. Yapılan çalışmanın konusu, methiyedeki tematik unsurların araştırılmasına ve İbnu’r-Rûmî’nin hem övgüsel hem de eleştirel anlayışa sahip bir anlatı oluşturmak için dili ve imgeleri nasıl kullandığının ortaya çıkartılmasına dayanmaktadır. Araştırmanın kapsamı, bahis mevzu methiyenin tarihî (...) ve kültürel arka planı bağlamında anlaşılmasının sağlanmasına kadar uzanmaktadır ve Abbâsî döneminin toplumsal normlarının, değerlerinin ve beklentilerinin anlaşılmasına da ehemmiyet vermektedir. Bu yaklaşım, metnin öneminin daha derinlemesine anlaşılmasını sağlamaktadır ve salt övgünün ötesine geçerek dönemin sosyopolitik dinamikleri hakkında bir yorum sunmaktadır. Öte yandan mevcut tarihî kayıtların İbnu’r-Rûmî ile Abdülmelik b. Ṣāliḥ arasındaki ilişki hakkında çok az ayrıntı sunduğunu ve mevcut belgelerde bu konuda kapsamlı bilgi bulunmadığını vurgulamak gerekir. Bu çalışmanın önemi, klasik Arap edebiyatı alanına yaptığı katkısından, özellikle de methiyelerin bu literatür geleneğindeki rolünün ve gelişiminin anlaşılması hususundaki önceliğinden kaynaklanmaktadır. İbnu’r-Rûmî’nin eserinin analizi vasıtasıyla bu araştırma, methiye nazmının karmaşık doğasına dikkat çekmesinin yanı sıra; şair, şiirde övülen kişi ve şaire verilen maddi ödül arasındaki ilişkinin ayrıntılı şekilde anlaşılmasını da sağlamaktadır. Araştırmada benimsenen yöntem, daha derinlemesine bir anlayış kazanmak maksadıyla, manzumenin temalarını parçalara ayırmaya odaklanan yakın bir metinsel analizi içermektedir. (shrink)

Three events, which happened all within the same week some ten years ago, set me on the track which the book describes. The first was a reading of Emile Meyerson works in the course of a prolonged research on Einstein's relativity theory, which sent me back to Meyerson's Ident ity and Reality, where I read and reread the striking chapter on "Ir rationality". In my earlier researches into the origins of French Conven tionalism I came to know similar views, all (...) apparently deriving from Emile Boutroux's doctoral thesis of 1874 De fa contingence des lois de la nature and his notes of the 1892-3 course he taught at the Sorbonne De ['idee de fa loi naturelle dans la science et la philosophie contempo raines. But never before was the full effect of the argument so suddenly clear as when I read Meyerson. On the same week I read, by sheer accident, Ernest Moody's two parts paper in the JHIof 1951, "Galileo and Avempace". Put near Meyerson's thesis, what Moody argued was a striking confirmation: it was the sheer irrationality of the Platonic tradition, leading from A vem pace to Galileo, which was the working conceptual force behind the notion of a non-appearing nature, active all the time but always sub merged, as it is embodied in the concept of void and motion in it. (shrink)