Let all finite sequences of letters of the English alphabet be ordered serially so that shorter sequences precede longer ones, and sequences of the same length are ordered alphabetically. Thus, an ordinal number is assigned to every possible English sentence of finite length. Among these numbers, some--call them S-numbers --will be the numbers of sentences which are instructions for writing down an infinite sequence of numbers. Now, it is impossible to state, in an English sentence of finite length, a generally (...) applicable procedure for determining whether an arbitrarily given number is an S-number. (shrink)

Received interpretation. As far as I have been able to determine, all scholars who have dealt with this fragment have followed Plutarch in holding that and are synonyms for ‘body’ and ‘void’ respectively, and the purport of the pronouncement is simply that ‘even void has a nature and substantiality of its own’ . But is included in Aristotle's dictionary of Atomist jargon, while is put better in the celebrated Fragment 125 . In consequence, Fragment 156 has been deemed more curious (...) than important. Despite the extreme scarcity of Democritean fragments other than moralizings, Kirk and Raven do not even print it. No doubt this assumed unimportance explains why it has not been noticed how unsatisfactory Plutarch's exegesis is. (shrink)

Nevertheless it is unfortunate that the great "sophist" has been cast into the outer darkness. Much of Plato's polemic becomes puzzling if it is not realized that the partisans of "opinion" as against "knowledge" were neither straw men nor the uncultured Many, but the leader and members of a vigorous and influential school, well-matched in their war with the Academy. Furthermore, Isocrates' philosophical views are of interest both intrinsically and as anticipations, sometimes astonishing, of various contemporary movements which profess allegiance (...) to "common sense.". (shrink)

It should be clear that Lyell's scientific contemporaries would hardly have agreed with Robert Munro's remark that Antiquity of Man created a full-fledged discipline. Only later historians have judged the work a synthesis; those closer to the discoveries and events saw it as a compilation — perhaps a “capital compilation,”95 but a compilation none the less. Its heterogeneity made it difficult to judge as a unity, and most reviewers, like Forbes, concentrated on the first part of Lyell's trilogy. The chapters (...) on glaciation were admired by Lyell's friends but had relatively little appeal to more general readers. His discussion of the species question hedged far too much to please those who accepted the cogency of Darwin's evidence and arguments. This last section of the book blatantly lacks originality or commitment and certainly has no claim to classical status in anthropology.We are left, then, with the first twelve chapters, for it was this portion that dictated the book's title and that amassed the available evidence favoring the antiquity of the human species. Did it do anything more than marshall the evidence that others had discovered? I think not. Lyell could write with style and verve. Principles of Geology is a remarkably readable book. But Antiquity is the work of a geologist, not of a systematic student of man. Despite its occasional touches of power, it never captures the freshness and immediacy of Lubbock's Pre-historic Times nor the theoretical brilliance of E. B. Tylor's Researches into the Early History of Mankind (1865).96 Antiquity utilizes little of the comparative method whereby Lyell's contemporaries used data from modern “savagery” to elaborate the possible social functions of the prehistoric remains being uncovered. It contains little social theory and has virtually no integrated framework. Even the first twelve chapters do not really hang together. As Hooker, commenting to Darwin on Lubbock's review, sadly wrote: “Lubbock in [the] N[atural] H[istory] Review, had in a note called attention to Lyell's ... ‘doing injustice’ to Prestwich & Falconer. I modified this expression ‘injustice’ in Lubbock's paper (which was friendly and apologetic). I am deeply sorry for it, but what can one do? I do think Lyell's first XII chapters a complete mess.”97 In another letter to Darwin, Hooker described this first portion of Antiquity as “confused and confusing.”98Part of the problem, of course, lay in the subject's novelty for Lyell and for most of his contemporaries. At a deeper level, however, I believe that the book accurately reflects Lyell's uncertainties about Darwin's work and its implications for man.99 Leonard Wilson's edition of Lyell's Scientific Journals provides a unique insight into Lyell's mind during the years just before he began to write Antiquity.100 Preoccupied with the human implications of evolutionary biology, Lyell was not clear how many of those implications were compatible with his deep convictions about the dignity of man's place in the cosmos. With a certain naiveté, Lyell complained in 1873 that many of his readers had failed to see the “natural connections” among the three portions of Antiquity.101 Connections could indeed be drawn between man's antiquity and his evolutionary origins; Lyell's private Scientific Journals movingly demonstrate that he was well aware of this fact. But he never fully made the connections in his published writings. Antiquity of Man is more appropriately seen as the last gasp of the heroic period in British geology than as the opening salvo in a new, post-Darwinian anthropological synthesis. Between the founding of the Geological Society of London in 1807 and the middle of the nineteenth century, geology was recognized as one of the most exciting and innovative scientific fields in Britain.102 Lyell himself had contributed much to that drama, and by the 1860's he was a public figure of venerable proportions. More then any other man he represented a geology that had extended the boundaries of process, time, and life. The fundamental achievements of Lyell and his colleagues had been assimilated into the wider Victorian consciousness, yet the earlier public debates about “genesis and geology” had left untouched in its essentials the concept of Man as a moral, responsible, created being.103Lyell never abandoned this view of his own species, and in 1863 it was a completely responsible creature which, under the weight of empirical evidence, Lyell admitted had lived on earth far longer than had previously been thought. Certainly this more generous allowance for human existence was constitutive to what Burrow calls the evolutionary social theory of midcentury Britain.104 Unlike Lyell, the younger representatives of this anthropology quietly accepted both man's antiquity and his aboriginal animality. Herbert Spencer's Principles of Psychology (1855), as well as the other volumes of his grand Synthetic Philosophy, presented as part of the cosmic process the development of human from prehuman beings.105 Tylor's discussion of what in his Researches (1865) he called the “gesture-language” presupposed the gradual and de novo origin of language in early human populations.106 Lubbock's young and polished mind was untroubled by the human implications of Darwin's work, and he cast his Prehistoric Times into such a perfect mold that it and its companionpiece (On the Origin of Civilization, 1870) went through seven editions each between 1865 and World War I, with their original theoretical structures intact. In a way that Lyell could not grasp, Lubbock was intrigued by questions concerning the origins of moral and religious beliefs and did not flinch at the thought of an amoral, atheistic creature as an ancestor.107 Indeed, as the German naturalist Carl Vogt pointed out in his Lectures on Man, translated into English the year after Antiquity, both Darwin's theories and the primitive flint knives of the Stone Age bore witness to a time beyond that imaginable from the condition of the lowest present-day “savage”:From such a low condition [little better than anthropomorphous apes], compared to which that of the so-called savages of the old and new world is a refined civilisation, has the human species gradually extricated itself, in a bitter struggle for existence, which it was well able to maintain, by being gifted with a larger amount of brain and intelligence than that possessed by the surrounding animal world.108The easy integration of biological and social themes was perhaps the distinguishing hallmark of Victorian anthropology of the 1850's and 1860's. After his fashion, Lyell got both themes into Antiquity, but he carefully separated them with a seven-chapter wall of glacial ice. Lyell's anthropology was not that of a thoroughgoing evolutionist like Lubbock, Tylor, or Spencer. For Lyell prehistoric man was not a product of biological evolution. Rude and superstitious he may have been, but he possessed ritual and a belief in a future state, and thus deserved “the epithet of ‘noble,’ which Dryden gave to what he seems to have pictured to himself as the primitive condition of our race: as Nature first made man/when wild in woods the noble savage ran.”109As a systematic argument, Lyell's book was at best a significant failure. As a popularization, it was a success — largely because of the personal stature of its author and the particular moment of its appearance. It helped establish the fact of man's antiquity with a wider Victorian audience, in itself no mean achievement. But Lyell was unable to exploit the fuller implications of his material in the service of a secular science of man. Ironically, he exploited only his colleagues' discoveries. Though the aging Lyell, with failing eyesight but unfailing mental powers, can still be seen as a man of considerable importance, his Antiquity belongs to the carefully circumscribed world of British geology rather than to the less disciplined world of Victorian anthropology. (shrink)

This paper reports the introduction of electronic handsets, like those used on the television show 'Who Wants To Be A Millionaire?' into the teaching of philosophical logic. Logic lectures can provide quite a formidable challenge for many students, occasionally to the point of making them ill. Our rationale for introducing handsets was threefold: to get the students thinking and talking about the subject in a public environment; to make them feel secure enough to answer questions in the lectures because the (...) system enabled them to do this anonymously; and to build their confidence about their learning by their being able to see how they were progressing in relation to the rest of the students in the class. We have achieved all of these and more. Our experience has revealed that the use of handsets encourages a more dynamic form of student interaction in an environment - the lecture - that can, in the wrong hands, be utterly enervating, but they also provide an opportunity for the lecturer to respond to students' difficulties at the time when they really matter. In this paper, we discuss our case of rapid adoption, our grounds for judging it a success, and what that success seems to have depended on. (shrink)

Every once in awhile an academic drudge gets to visit a place that dreams are made of. We all know the little game in which American scholars compete to mention the exotic locations they have been to: Paris, London, Beijing, Mumbai. But I have never aroused such open jealousy in my colleagues until I uttered the word “Casablanca.”For knowledgeable tourists, this is something of a puzzle. Casablanca is routinely disrespected by the guidebooks for its lack of an authentically ancient (...) medina or a labyrinthine souk, and its paucity of museums leaves the tourist with relatively few obvious destinations. One suspects that much of the aura surrounding the city's name comes from the wholly fictional movie and the associated mystique of Humphrey Bogart and Ingrid Bergman. Moroccans are notably marginal in the film, which, in a kind of doubling of colonial occupation, treats Casablanca as an outpost of the Vichy French regime under the thumb of the Nazis. Rick's Café Américain never existed until quite recently, when a retired American diplomat decided to capitalize on the legendary bistro with a simulacrum. The real city is quite modern, with the relics of 1920s colonial art-deco-French architecture serving as a main attraction, along with the thoroughly contemporary mosque of Hassan II, designed by a French architect and finished only in the 1990s. There is also the Corniche, with its surfing beaches and exclusive cafés, clubs, and hotels. (shrink)

Abstract:This essay examines the experiences of three 19th-century African American travelers to Greece—David Dorr (1852), Frederick Douglass (1887), and John Wesley Gilbert (1890–1)—using evidence from their letters, diaries, and published writings. The essay shows that although each traveler's unique personal perspective shaped his response to seeing the ancient sites and monuments of Greece, all three men responded most deeply to a site connected with Greece's Christian heritage: the Areopagus or Mars Hill, where according to 19th-century understanding the Apostle Paul had (...) spoken the words recorded in the Book of Acts. (shrink)

Arguments against intervening in nature's ways have been used against many new technologies in the last century. Many of these arguments have employed the metaphor of "playing God." In this essay I briefly review the use of the term "playing God" in recent decades. I then examine the cosmology that lies implicit in this language. My thesis is that the language of "playing God" overlooks the dynamic, evolutionary nature of world process—the role played by the indeterminacy of statistical probabilities. I (...) review the notion of "emergent probability" in order, in the end, to advocate an ethic of risk that both recognizes the dangers of hubris and includes an open and emergent view of creation. (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)

In lieu of an abstract, here is a brief excerpt of the content:Past, Present—and Future Perfect?Taking Psychiatry Beyond Its Single Message MythologiesK. W. M. Fulford (bio)I am grateful to John Sadler and his colleagues for their generous invitation to contribute to this collection marking Philosophy, Psychiatry, & Psychology (PPP)'s thirtieth birthday. True to our editorial tradition of "no nonsense" publishing, the "ask" was a reflection on PPP's past, present and future, limited to 500 words. In fact, one word does it (...) for me—collegiality.Collegiality was our watch word from the start. I still treasure a group photo taken at an early pre-meeting of the Association for the Advancement of Philosophy and Psychiatry (AAPP) convened by Michael Schwartz at his home in 1992, when, among other initiatives, PPP was conceived through transferring our then-nascent journal proposal from a small British publishing house to its current international publisher, the Johns Hopkins University Press. Michael and I had met earlier by phone when he had called the Royal College of Psychiatrists in London to enquire about its recently launched Philosophy Group and (by mere chance) I happened to be standing next to the person who took the call! PPP, with John and myself its founder editors, was subsequently born as, and has remained, a joint venture between our two groups: and Peter Zachar's recent initiative in building closer links with the International Network for Philosophy and Psychiatry (INPP) has taken us an important step towards the vision shared by Michael, John and myself that PPP should grow to reflect and represent a global open society of philosophy and mental health.As a pointer to the future, this global open society was no mere utopian vision but a joint commitment to what we conceived as a necessary ambition. Contemporary disenchantment with the repeated failures of translation of current narrowly empirical models of psychiatry, points to the truth of our German colleague, Paul Hoff's, characterization of the history of psychiatry as a history of serial collapses into single message mythologies. This disenchantment might seem to offer an opportunity for colonial expansion of philosophy into psychiatry (a re-assertion, perhaps, of phenomenology?). But PPP was born out of the "decade of the brain" and has remained throughout an ally of, not competitor to, the neurosciences. [End Page 3] So, while it is true that, with Peter's initiative, and with editorial and other innovations introduced by John, PPP is actively extending its reach (to new areas of philosophy, and to new voices, informed notably by experience as well as by training), this expansion remains a collegial not colonial enlargement of the field. I need hardly point to the challenges presented by the inclusive ambitions of such enlargement (not least to maintaining the highest standards of editorial and peer review). But PPP's collegiality provides the foundation for the work needed to deliver on these challenges. Even if imperfectly realized, this collegiality will help to take us beyond the single message mythologies by which our discipline has too long been hobbled. [End Page 4]K. W. M. Fulford K.W.M. (Bill) Fulford is a Fellow of St Catherine's College and Member of the Philosophy Faculty, University of Oxford; Emeritus Professor of Philosophy and Mental Health, University of Warwick Medical School; and Founder Director of the Collaborating Centre for Values-based Practice, St Catherine's College, Oxford (valuesbasedpractice.org).Copyright © 2023 Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Christian Ethics in a Technological Age by Brian BrockDavid W. GillChristian Ethics in a Technological Age Brian Brock Grand Rapids, Mich.: Eerdmans, 2010. 408 pp. $34.00Brian Brock is a lecturer in moral and practical theology at the University of Aberdeen, Scotland, and the author of Singing the Ethos of God: On the Place of Christian Ethics in Scripture (Eerdmans, 2007). Christian Ethics in a Technological [End Page 188] (...) Age was originally Brock’s doctoral thesis at King’s College, London. Brock begins by highlighting and finding wanting the modern practice of “technology assessment” as epitomized in the establishment of the US Office of Technology Assessment in 1972. We live in a world, a milieu, of ever-multiplying new technologies and technological artifacts. “Technology assessment” attempts to evaluate their impacts as thoroughly as possible through scientific, managerial methods. Costs and benefits, benefits and harms, short-term and long-term, near and distant effects: how can we measure what we know and extrapolate to what we need to know?In part 1 Brock engages in some detail the thinking of Martin Heidegger, George Grant, and Michel Foucault on technology. Although Heidegger and Foucault in particular are not ultimate authorities for Brock, his chapters on their work provide a helpful philosophical critique of the inadequacies of today’s narrow managerial approaches to technological assessment. The real problems lie much deeper: in the ways technology reflects and restructures our whole way of thinking about life, materiality, subjects and objects, and means and ends.Having used Heidegger, Grant, and Foucault to unmask the complex reality of technology in the modern era, Brock turns in part 2 to Augustine, Karl Barth, and Bernd Wannenwetsch to try to build a Christian theological ethics of technology and work that will, in the end, provide a richer texture for our interactions with the questions raised by new technologies. In briefest terms, he argues that our questions and judgments about technology should arise within the church gathered for worship rather than within the management team gathered for measurement of effects. It could be said that in the former it is God who questions technology whereas in the latter technology and its servants constitute an implicit challenge to God and the world external to themselves.Brock’s study will be of particular interest to students of his primary six sources: Heidegger, Grant, Foucault, Augustine, Barth, and Wannenwetsch, whose ideas and quotations dominate the pages of this book. Without any doubt Christian Ethics in a Technological Age is a significant work that deserves careful consideration in graduate seminars and among specialists in the field; nonetheless, I have three criticisms. First, the work would have been much stronger if it demonstrated awareness and understanding of the work of Jacques Ellul, Carl Mitcham, Albert Borgmann, and other leading thinkers in this arena. Second, Brock’s writing style (long, complex Germanic sentence structures, eccentric vocabulary choices such as the recurrent use of “purchase”) gets in the way of successful communication—especially with the very managers and technologists he presumably would like to influence. Third, while sympathizing with his rejection of managerial formulas for analysis, some much more concrete and practical counsel on the implications of his position would have been [End Page 189] helpful. How do trust and trustworthiness get reestablished? How does a worshipping congregation hear God’s guidance about its particular engagements with technologies? We have some eloquent statements of the concepts but little by way of illustration or example.David W. GillGordon-Conwell Theological SeminaryCopyright © 2013 Society of Christian Ethics... (shrink)

Microbiologists are transitioning from the study and characterization of individual strains or species to the profiling of whole microbiomes and microbial ecology. Equipped with high-throughput methods for studying the taxonomic and functional characteristics of diverse samples, they are just beginning to encounter the conceptual, theoretical, and experimental problems of comparing taxonomy to function, and extracting useful measures from such comparisons. Although still unresolved, these problems are well studied in macro-ecology and are reiterated here as an historical precautionary for microbial ecologists. (...) Beyond expected and unresolved terminological vagueness, we argue that assessments and comparisons of taxonomic and functional profiles in micro-ecology suffer from theoretically unresolvable arbitrariness and ambiguities. We divide these into problems of scale, individuation, and commensurability. We argue that there is no technically/theoretically “correct” scale, individuation, or comparison of taxonomy and function, but there are nonetheless better and worse methodologies for profiling. (shrink)