In this article, we present participatory action research as a radical act of humanity: a direct response to real dehumanization of vulnerable communities. We argue, as an enactment of critic...

What do exotic area rugs, handcrafted steel-string guitars, and fiddling have in common today? Many contemporary tradition bearers embrace complexity in form and content. They construct objects and performances that draw on the past and evoke nostalgia effectively but also reward close attention. In Rugs, Guitars, and Fiddling: Intensification and the Rich Modern Lives of Traditional Arts, author Chris Goertzen argues that this entails three types of change that can be grouped under an umbrella term: intensification. First, traditional creativity can (...) be intensified through virtuosity, through doing hard things extra fluently. Second, performances can be intensified through addition, by packing increased amounts of traditional materials into the conventionally sized packages. Third, in intensification through selection, artistic impact can grow even if amount of information recedes by emphasizing compelling ideas-e.g., crafting a red and black viper poised to strike rather than a pretty duck decoy featuring more colors and contours. Rugs handwoven in southern Mexico, luthier-made guitars, and southern US fiddle styles experience parallel changes, all absorbing just enough of the complex flavors, dynamics, and rhythms of modern life to translate inherited folklore into traditions that can be widely celebrated today. New mosaics of details and skeins of nuances don't transform craft into esoteric fine art, but rather enlist the twists and turns and endless variety of the contemporary world therapeutically, helping transform our daily chaos into parades of negotiable jigsaw puzzles. Intensification helps make crafts and traditional performances more accessible and understandable and thus more effective, bringing past and present closer together, helping folk arts continue to perform their magic today. (shrink)

ABSTRACT Viewers of Jordan Peele’s 2019 Us are likely to approach the film expecting it to be about race. Undercutting current cultural orthodoxy about which marker of identity has priority, the story reveals itself instead to be about class, as doppelgängers emerge from underground to free themselves from the affluent originals allegorically oppressing them in a capitalist culture. In what Vera Tobin calls a “narrative rug-pull,” the revelation of the main character’s real identity invites viewers to reinterpret what they have (...) seen and to rethink what their loyalties were and should be. Us thereby performs a rug-pull of a specifically ideological variety, as, prior to the reveal, viewers only make the specific interpretive assumptions they do because of deeper ideological ones. Where Tobin writes against the notion that cognitive biases are necessarily bad, since they can be deployed for aesthetic pleasure, I argue further that they can be weaponized in narrative to artfully combat ideological bias. There is untapped potential for rug-pulling to be used in ideology critique, though I end with some pessimistic caveats about the possibility of doing so in a capitalist culture. (shrink)

This article reviewed the influence of pre-Islamic religions such as Mithraism and Zoroastrianism on decorative elements of ancient Persian rugs. The article then evaluated the effect of the Islamic religion on Persian rugs. This was examined through extant evidence from pre–Islamic empire artefacts and publications in Persian carpet history, iconography and religious studies. Using spiritual motifs on some ancient rugs results from the important position of rugs in ancient Iranians’ lives. Believing the existence of religious motifs on Persian carpets is (...) because the first carpet in history (Pazyryk) was attributed to the ancient Achaemenians, decorated with symbolic motifs from Mithraism and Zoroastrianism. Pazyryk shows how rug-weaving evolved during the Achaemenids, and it represented spiritual foundations through visual concepts. This article reviewed the symbolic Persian rug motifs from ancient religions through Pazyryk, with support from museum collections. With the emergence of religions, these effects are seen in all aspects of life, including the production of rug design. Contribution: The main contribution of this research was that it investigated the effects of religion on Persian art focusing on the Persian rug. The findings showed that religion had directly influenced the decorative motifs of the Persian rug among high-class families that might have cascaded into visual elements found on commoners’ rugs. (shrink)

In his treatment of the Wittgensteinian paradox about rule-following, Saul Kripke represents the non-reductionist approach, according to which meaning something by an expression is a sui generis state that cannot be elucidated in more basic terms, as brushing philosophical questions under the rug. This representation of non-reductionism captures the way in which some of its proponents conceive of it. Meaning is viewed by these philosophers as an explanatory primitive that provides the basic materials for philosophical inquiry, but whose nature cannot (...) serve as an object for that inquiry. There is, however, an alternative way of conceiving of non-reductionism, which makes it possible to tackle philosophical questions about the nature of meaning head-on. (shrink)

In a series of recent papers, Jonathan Schaffer presents a novel framework for understanding grounding. Metaphysical laws play a central role. In addition, Schaffer argues that, contrary to what many have thought, there is no special 'explanatory gap' between consciousness and the physical world. Instead, explanatory gaps are everywhere. I draw out and criticize the methodology for metaphysics implicit in Schaffer's presentation. In addition, I argue that even if we accept Schaffer's picture, there remains a residual explanatory gap between consciousness (...) and the physical. The residual gap does most of the same philosophical work as the original. Schaffer has introduced a troublesome metaphysical methodology that fails to follow through on its biggest promise: to deflate the explanatory gap. (shrink)

We tested the good genes ovulatory shift hypothesis through speed-dating, an ecologically valid paradigm with real life consequences. Fifteen speed-dating sessions of 262 single Asian Americans were held. We analyzed 850 speed-dates involving 132 men and 100 normally ovulating women, finding ovulatory shifts in the desirability of men with more masculine facial measurements (smaller eye–mouth–eye angle, larger lower face to full face height ratio, and smaller facial width to lower face height ratio) in the predicted direction. However, there was no (...) support for ovulatory shifts in preferences for men’s self-reported height. In addition, the expected shifts were not found for women’s second date offers to men. Therefore, with natural stimuli and in a competitive dating scenario, we partially replicated previously documented ovulatory shifts in women’s preferences for men. (shrink)

Knowledge and expertise -- Knowledge and action -- The nature of professional action in urban planning.

An interview of Amina Kkhelufi and Kseniia Myroshnyk with Tetiana Chaika, dedicated to the formation of the idea of an oral history of philosophy.

Bruineberg et al. underestimate the ontological weight of Markov blankets as actual boundaries of systems and lean toward an instrumentalist understanding thereof. Yet Markov blankets need not be deemed mere tools. Determining their reality depends on the fundamental problem of distinguishing between system and environment in physics, which, in turn, demands a metaphysical bedrock backed by a realist stance on science.

https://rug.academia.edu/corijnvanmazijk.

"In the gorgeous and rugged terrain of Jewish thought, there is no higher mountain to climb than Maimonides, and no more slippery or exhilarating ascent. Halbertal has made it all the way to the top, and his survey of the whole of the Maimonidean landscape is trustworthy and masterful. This is the richest and most intellectually sophisticated book on Maimonides I have ever read."--Leon Wieseltier "In this learned and penetrating work, Halbertal offers us a Maimonides who draws on the dominant (...) Greco-Islamic thought of his time while creating a system of thought that is fully Jewish. He shows us how the early "Commentary on the Mishnah" links up with the "Mishneh Torah" and with the "Guide of the Perplexed," written at the end of his life, to form an unexpected and radical intellectual unity. Beautifully written, "Maimonides" brings out both Maimonides's intellectual success and the paradoxical critical approaches to him after his death."--David J. Wasserstein, Vanderbilt University "Insightful and learned. Halbertal is perhaps the leading philosopher of Jewish law today. His book on Maimonides, like his other writings, reflects wide erudition and is written clearly and sharply."--Warren Zev Harvey, professor emeritus, Hebrew University of Jerusalem "Displaying the marvelous depth and clarity that mark all his work, Halbertal explains in abundant detail the transformations that Maimonides sought to effect in the Jewish world. He provides incisive interpretations of both legal and philosophical writings, yet he is also a biographer, binding together Maimonides's life, self-perception, and intellectual agenda. This is an exceptionally rich book, one that offers fresh perspectives for experts and a highly accessible introduction for general readers."--David Shatz, Yeshiva University "An outstanding and thrilling portrait of Maimonides. Halbertal's analytic lucidity and psychological depth are singular, and his talents are abundantly apparent on every page. This is an extraordinary book."--Menachem Lorberbaum, Tel Aviv University. (shrink)

The U.S. scientific community has long led the world in research on such areas as public health, environmental science, and issues affecting quality of life. These scientists have produced landmark studies on the dangers of DDT, tobacco smoke, acid rain, and global warming. But at the same time, a small yet potent subset of this community leads the world in vehement denial of these dangers. -/- Merchants of Doubt tells the story of how a loose-knit group of high-level scientists and (...) scientific advisers, with deep connections in politics and industry, ran effective campaigns to mislead the public and deny well-established scientific knowledge over four decades. Remarkably, the same individuals surface repeatedly-some of the same figures who have claimed that the science of global warming is "not settled" denied the truth of studies linking smoking to lung cancer, coal smoke to acid rain, and CFCs to the ozone hole. "Doubt is our product," wrote one tobacco executive. These "experts" supplied it. -/- Naomi Oreskes and Erik M. Conway, historians of science, roll back the rug on this dark corner of the American scientific community, showing how ideology and corporate interests, aided by a too-compliant media, have skewed public understanding of some of the most pressing issues of our era. (shrink)

It is well known that John Dewey was very far from embracing the traditional idea of cognition as something happening inside one’s own mind and consisting in a pictorial representation of the alleged purely external reality out there. His position was largely convergent with enactivist accounts of cognition as something based in life and consisting in human actions within a natural environment. The paper considers Dewey’s conception of cognition by focusing on its potential contributions to the current debate with enactivism. (...) It claims that Dewey’s anti-substantial, continuistic, and emergentistic conception of the mind as a typically human conduct pulls the rug out of the idea of cognition as representation, as well as pushes the current discussion towards a serious reconsideration of representationalist assumptions about conceptuality and language. The paper emphasises that Dewey—differently from enactivists—frames the role of cognition within experience: he argues that cognition concerns those intermediate phases of our experiences of the world which are characterised by an indeterminate or troubled situation, because he claims that human beings’ interactions with their own environment are qualitatively richer and broader than cognition, including as they do many different and intertwined modes of experience. Finally, the author suggests that a coherent development of Dewey’s lines of thought should avoid rigid distinctions and hierarchies between lower and higher degrees of cognition in humans, which are still maintained in certain forms of radical enactivism. Differently, we should consider the impact of the cultural and broadly linguistic configuration of the human–environment even on perception, motor action, and affective sensibility. (shrink)

Some modern cosmological models predict the appearance of Boltzmann Brains: observers who randomly fluctuate out of a thermal bath rather than naturally evolving from a low-entropy Big Bang. A theory in which most observers are of the Boltzmann Brain type is generally thought to be unacceptable, although opinions differ. I argue that such theories are indeed unacceptable: the real problem is with fluctuations into observers who are locally identical to ordinary observers, and their existence cannot be swept under the rug (...) by a choice of probability distributions over observers. The issue is not that the existence of such observers is ruled out by data, but that the theories that predict them are cognitively unstable: they cannot simultaneously be true and justifiably believed. (shrink)

When my family discusses how we should spend a summer holiday, we start from certain common understandings about our preferences. We prefer self-catering accommodation to hotels, and hotels to campsites. We prefer walking and looking at scenery and wildlife to big-city sightseeing and shopping. When it comes to walks, we prefer walks of six miles or so to ones which are much shorter or much longer, and prefer well-marked but uncrowded paths to ones which are either more rugged or more (...) popular. And so on. These common understandings greatly simplify the task of choosing between holiday destinations and activities, by allowing us quickly to eliminate many options. But what does it mean to say that we prefer one thing to another? (shrink)

A deeply informed exploration of what Stoic ideas have to offer us today Stoicism is the ideal philosophy of life for those seeking calm in times of stress and uncertainty. For many, it has become the new Zen, with meditation techniques that help us face whatever life throws our way. Indeed, the Stoics address a key question of our time: how can we be masters of our fate when the outside world threatens to unmoor our well-being? In Stoic Wisdom, Georgetown (...) philosophy professor Nancy Sherman, an expert in ancient and modern ethics, shows what a practical modern Stoicism really looks like. Drawing on the wisdom of Stoic thinkers Epictetus, Marcus Aurelius, Seneca and others, Sherman paints a portrait that uncovers the true subtlety and power of Stoic ideas. That portrait reveals a truth often ignored: that the Stoics never thought self-sufficiency was only about rugged self-reliance and mental discipline. We are at home in the world, they taught, when we are connected to each other in cooperative efforts. While mastery of one's self is essential, we also must draw on our deepest relationships for true strength and resilience. Bringing these ancient ideas to bear on 21st century environments-from Silicon Valley to first responders in a pandemic, to soldiers on the battlefield-Sherman shows how Stoicism can both prepare us for an uncertain future and help us cope with traumatic events. Stoic Wisdom will appeal to anyone feeling helpless or looking for deeper, meaningful strength and goodness in addressing life's biggest and smallest challenges. (shrink)

Sugar, pork, beer, corn, cider, scrapple, and hoppin' John all became staples in the diet of colonial America. The ways Americans cultivated and prepared food and the values they attributed to it played an important role in shaping the identity of the newborn nation. In A Revolution in Eating, James E. McWilliams presents a colorful and spirited tour of culinary attitudes, tastes, and techniques throughout colonial America. Confronted by strange new animals, plants, and landscapes, settlers in the colonies and West (...) Indies found new ways to produce food. Integrating their British and European tastes with the demands and bounty of the rugged American environment, early Americans developed a range of regional cuisines. From the kitchen tables of typical Puritan families to Iroquois longhouses in the backcountry and slave kitchens on southern plantations, McWilliams portrays the grand variety and inventiveness that characterized colonial cuisine. As colonial America grew, so did its palate, as interactions among European settlers, Native Americans, and African slaves created new dishes and attitudes about food. McWilliams considers how Indian corn, once thought by the colonists as "fit for swine," became a fixture in the colonial diet. He also examines the ways in which African slaves influenced West Indian and American southern cuisine. While a mania for all things British was a unifying feature of eighteenth-century cuisine, the colonies discovered a national beverage in domestically brewed beer, which came to symbolize solidarity and loyalty to the patriotic cause in the Revolutionary era. The beer and alcohol industry also instigated unprecedented trade among the colonies and further integrated colonial habits and tastes. Victory in the American Revolution initiated a "culinary declaration of independence," prompting the antimonarchical habits of simplicity, frugality, and frontier ruggedness to define American cuisine. McWilliams demonstrates that this was a shift not so much in new ingredients or cooking methods, as in the way Americans imbued food and cuisine with values that continue to shape American attitudes to this day. (shrink)

BackgroundThe Western-European concept of libertarian rights-based autonomy, which advocates respect for individual rights, may conflict with African cultural values and norms. African communitarian ethics focuses on the interests of the collective whole or community, rather than rugged individualism. Hence collective decision-making processes take precedence over individual autonomy or consent. This apparent conflict may impact informed consent practice during biomedical research in African communities and may hinder ethical principlism in African bioethics. This study explored African biomedical researchers' perspectives regarding informed consent (...) and potential limitations to the principle of respect for autonomy in African communities.MethodsWe conducted a qualitative study based on in-depth interviews with 12 biomedical researchers, five females and seven males aged 34 to 74 years, currently working at an African university. Interviews lasted 35–40 min each and involved semi-structured open-ended interviews, which allowed participants to offer information about their perceptions and feelings regarding respect for autonomy and informed consent as practised in Africa. Empirical data from the interviews were recorded, transcribed, and analysed using thematic content analysis, together with an interrogation of relevant scientific literature about African communitarian ethics, making evaluations and drawing inferences consistent with the empirical bioethics approach.ResultsBased on these interviews and analysis of relevant literature, we found that informed consent is difficult to apply in an African context because it derives from a Western conception of libertarian rights-based autonomy. Most respondents pointed out that it was challenging to implement informed consent in the African setting. Furthermore, communalism, customary beliefs, spirituality, and relational autonomy are predominant in most African communities, as exemplified by the African moral philosophies of Ubuntu/botho and Ukama, which emphasize communitarianism over individual rights. We also found that language, education, poverty, and cultural beliefs are barriers to obtaining proper informed consent in African communities.ConclusionsWe conclude that there are limitations to applying the principle of respect for autonomy and informed consent in African communities, especially in the context of human biomedical research. We recommend using a more relational approach, such as Ross’s prima facie duties, to implement informed consent in African communities. (shrink)

"A rough spade for a rugged landscape" : on savage selves and more civil places -- "What remains of the harvest when the fence grazes the crop?" : on the proper violence of agrarian citizenship -- "The life of the thief leaves the belly always boiling" : on the nature and restraint of the criminal animal -- "Millets sown yield millets, evil sown yields evil" : on the moral returns of agrarian toil -- "Let the water for the paddy also (...) irrigate the grass" : on the sympathies of an aqueous self. (shrink)

We discuss the early career of John H. Van Vleck, one of the earliest American quantum theorists who shared the 1977 Nobel prize with his student Philip W. Anderson and Sir Nevill Mott. In particular, we follow Van Vleck's trajectory from his 1926 Bulletin for the National Research Council on the old quantum theory to his 1932 book, The Theory of Electric and Magnetic Susceptibilities. We highlight the continuity of formalism and technique in the transition from dealing with spectra in (...) the old quantum theory to dealing with susceptibilities in the new quantum mechanics. Our main focus is on the checkered history of a numerical factor in the so-called Langevin-Debye formula for the electric susceptibility of gases. Classical theory predicts, under very general conditions, that this factor is equal to 1/3. The old quantum theory predicted values up to 14 times higher. Van Vleck showed that quantum mechanics does away with this "wonderful nonsense" and restores the classical value 1/3 under equally general conditions. The Langevin-Debye formula thus provides an instructive example of a Kuhn loss in one paradigm shift that was regained in the next. In accordance with the expectation of Thomas S. Kuhn that textbooks tend to sweep Kuhn losses under the rug, Van Vleck did not mention this particular Kuhn loss anywhere in his 1926 NRC Bulletin. Contrary to Kuhn's expectations, however, he put the regained Kuhn loss in susceptibility theory to good pedagogical use in his 1932 book. Kuhn claimed that textbooks must suppress, truncate, and/or distort the prehistory of their subject matter if they are to inculcate the exemplars of the new paradigm in their readers. This claim is not borne out in this case. We argue that it is ultimately because of the continuity of formalism and technique that we draw attention to that Van Vleck could achieve his pedagogical objectives in his 1932 book even though he devoted about a third of it to the treatment of susceptibilities in classical theory and the old quantum theory in a way that matches the historical record reasonably well. (shrink)

I shall maintain that there simply is no such thing as philosophical knowledge, nor any philosophical way of knowing anything, and defend the humble point that philosophy is, indeed, the love of wisdom. I believe the philosopher's claim to philosophical knowledge is a pretense. It is, moreover, precisely this pretense that has tended to make philosophers of today look ridiculous in the eyes of the world. With so much folly abounding, so much unhappiness even in the midst of riches, so (...) many lives seemingly wasted in the pursuit of specious ideals, men have looked hopefully to the philosophers for light upon some of those things that have always been of deep concern to thoughtful men. They have been puzzled and somewhat dismayed at what they have found. The philosophers, in turn, have been surprised to find their work the subject of considerable and unflattering editorial comment, which they have for the most part swept under the rug and out of sight. It has been a matter of genuine concern to those "outside" philosophy to realize, when wise men are sought, that not only do the philosophers not resemble very closely what they would suppose were men of great wisdom, but many do not even seem to profess a love for it. They are instead embarked upon the pursuit of philosophical knowledge—which of course no one wants to find fault with, provided there is any such thing. But what this philosophical knowledge more often than not turns out to be is either knowledge of the meanings of more or less ordinary words, facility in the techniques of logic, adeptness at definition, or felicity in saying what everyone already believes, and none of these is likely to seem to other men of mature judgment very promising of wisdom nor, indeed, even worthy of men of learning. (shrink)

Given a traditional intuitionist moral epistemology, it is notoriously difficult for moral realists to explain the reliability of our moral beliefs. This has led some to go looking for an alternative to intuitionism. Perception is an obvious contender. I previously argued that this is a dead end, that all moral perception is dependent on a priori moral knowledge. This suggests that perceptualism merely moves the bump in the rug where the reliability challenge is concerned. Preston Werner responds that my account (...) rests on an overly intellectualized model of perception. In this paper, I argue that though Werner may well be correct, my arguments, properly extended, still suggest that perceptualism leaves realists in no better position than intuitionism when it comes to the reliability challenge. (shrink)

The stunning possibility of “reprogramming” differentiated somatic cells to express a pluripotent stem cell phenotype (iPS, induced pluripotent stem cell) and the “ground state” character of pluripotency reveal fundamental features of cell fate regulation that lie beyond existing paradigms. The rarity of reprogramming events appears to contradict the robustness with which the unfathomably complex phenotype of stem cells can reliably be generated. This apparent paradox, however, is naturally explained by the rugged “epigenetic landscape” with valleys representing “preprogrammed” attractor states that (...) emerge from the dynamical constraints of the gene regulatory network. This article provides a pedagogical primer to the fundamental principles of gene regulatory networks as integrated dynamic systems and reviews recent insights in gene expression noise and fate determination, thereby offering a formal framework that may help us to understand why cell fate reprogramming events are inherently rare and yet so robust. (shrink)

In this article, I review and expand upon arguments showing that Freedman's so-called "clinical equipoise" criterion cannot serve as an appropriate guide and justification for the moral legitimacy of carrying out randomized clinical trials. At the same time, I try to explain why this approach has been given so much credence despite compelling arguments against it, including the fact that Freedman's original discussion framed the issues in a misleading way, making certain things invisible: Clinical equipoise is conflated with community equipoise, (...) and several versions of each are also conflated. But a misleading impression is given that, rather than distinct criteria being arbitrarily conflated, a puzzle is solved and a number of features unified. Various issues are pushed under the rug, hiding flaws of the "clinical equipoise" approach and thus deceiving us into thinking that we have a solution when we do not. Particularly significant is the ignoring of the crucial distinction between the individual patient decision and the policy decision. (shrink)

Cro-Magnon Man was smarter and generally more capable than we are. So why did he go extinct? Precisely because he was so capable. Whereas members of our species are weaklings who rely on others, members of his species had it in them to be rugged individualists; and that is what they did. But then, when circumstances became too severe, they had no social support and thus went extinct.

The philosophy of Ayn Rand has had a role equal or greater than that of Milton Friedman or F.A. Hayek in shaping the contemporary neo-liberal consensus. Its impact was powerful on architects of Reaganomics such as Alan Greenspan, former Director of the World Bank, and the new breed of American industrialists who developed revolutionary information technologies in Silicon Valley. But what do we really know of Rand's philosophy? Is her gospel of selfishness really nothing more than a reiteration of a (...) quintessentially American "rugged individualism"? This book argues that Rand's philosophy can in fact be traced back to a moment, before World War I, when the work of a now-forgotten German philosopher called Max Stirner possessed an extraordinary appeal for writers and artists across Europe. The influence of Stirnerian Egoism upon that phase of intense creative innovation we now call Modernism was seminal. (shrink)

Character and Culture by Irving Babbitt is the latest volume in the Library of Conservative Thought. Babbitt was the leader of the twentieth-century intellectual and cultural movement called American Humanism or the New Humanism. More than half a century after his death his intellectual staying power remains undiminished. The qualities that marked Irving Babbitt as a thinker and cultural critic of the first rank are richly represented in "Character and Culture. "First published togetherin 1940 (under the misleading title "Spanish Character), (...) "these essays span his scholarly career and cover a wide range of subjects. The diverse topics discussed here--aesthetics, ethics, religion, politics, literature--are illuminated by the same unifying vision of human existence that informs and structures all of Babbitt's writing. Babbitt never took up a subject out of idle curiosity. All of his books and articles grew out of a desire to address certain fundamental questions of life and letters. The essaysin this volume are as worthy of attention now as when they were originally written. Set in then- philosophical and historical context by Claes G. Ryn's new introduction, they are a good place to start for persons who wish to acquaint themselves not only with Babbitt's central ideas but with the scope of his mind and interests. Readers familiar with other books by Babbitt may recognize particular ideas and formulations but will also find much new material to ponder. Ryn's introduction provides a comprehensive look at Irving Babbitt's life, career, writings, and influence. He shows how Babbitt has survived and sustained often harsh criticism from representatives of dominant trends. Ryn describes his writing style as having "a kind of rugged American elegance." The substantial critical introduction also elucidates Babbitt's central ideas in relation to the volume. "Character and Culture "will be of interest to scholars of literature, philosophers, historians, theologians, and political theorists. The extensive index to all of Babbitt's books, including this one, increases the value of the volume. (shrink)

Drawing from the development of individualism in western philosophy and American history, this book constructs a normative theory called authentic individualism. Using the precepts of that theory, it urges organizational leaders to change the way they think about their organizations and their organizations' social function. Students and scholars of political science, social science, public administration, moral theory and organizational theory will find this a useful work. Contents: Introduction to Individualism; PART ONE: A Model of the Individual from Western Philosophy; The (...) Individual of the Ancients; The Individual of the Dark Ages; The Individual of Modernity; PART TWO: A Model of the Individual in the United States; Rugged Individualism of the Revolutionary U.S.; Rational Individualism After Romanticism and Reform; Radical Individualism from Disillusionment and Loss of Faith; PART THREE: Synthesis of Philosophies Toward a More Socially Responsible Individualist in the Third Millennium; Need for a New World View; Changing the Paradigm; Soul of the Third Administrative State; Notes; Bibliography; Index. (shrink)

How do aboriginal traditional land rights fare in the face of modern business? “Belatedly, Australia is dealing with a major human rights issue it has attempted to sweep under the rug for 200 years”. The author is completing his MBA at London Business School and is a mining engineer of Australian origin.

Wilderness Search and Rescue is the process of finding and assisting persons who are lost in remote wilderness areas. Because such areas are often rugged or relatively inaccessible, searching for missing persons can take huge amounts of time and resources. Camera-equipped mini-Unmanned Aerial Vehicles have the potential for speeding up the search process by enabling searchers to view aerial video of an area of interest while closely coordinating with nearby ground searchers. In this paper, we report on lessons learned by (...) trying to use UAVs to support WiSAR. Our research methodology has relied heavily on field trials involving searches conducted under the direction of practicing search and rescue personnel but using simulated missing persons. Lessons from these field trials include the immediate importance of seeing things well in the video, the field need for defining and supporting various roles in the search team, role-specific needs like supporting systematic search by providing a visualization tool to represent the quality of the search, and the on-going need to better support interactions between ground and video searchers. Surprisingly to us, sophisticated autonomous search patterns were less critical than we anticipated, though advances in video enhancement and visualizing search progress, as well as ongoing work to model the likely location of a missing person, open up the possibility of closing the loop between UAV path-planning, search quality, and the likely location of a moving missing person. Keywords: Unmanned Aerial Vehicles, Wilderness Search and Rescue, Human–Robot Interaction, Human Factors, Field Robotics, Graphical User Interfaces. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ossian and the Invention of Textual HistoryKristine Louise HaugenIt is now controversial to call James Macpherson a forger or the poems of Ossian a hoax. 1 Encouraged by Derick Thomson’s 1952 demonstration that Macpherson’s Ossian indeed echoes authentic Gaelic verse, 2 a group of critics has undertaken to “rehabilitate” Macpherson, not least through a new critical edition of Ossian’s poems and related texts. 3 The edition makes it easier (...) than before to encounter Ossian directly:Morna, thou fairest of women, daughter of Cormac-Carbre? [sic] why in the circle of stones, in the cave of the rock, alone? The stream murmureth hoarsely. The blast groaneth in the aged tree. The lake is troubled before thee.... But thou art like snow on the heath. Thy hair like a thin cloud of gold on the top of Cromleach.... Thy arms, as two white pillars in the hall of Fingal. 4The authentic source of this passage seems to be the eighteenth-century commonplace that the savage and uneducated delight in figurative language, especially similes and metaphors—a commonplace enunciated often in the writings [End Page 309] of Hugh Blair, a literary critic deeply interested in Macpherson’s Ossianic productions. 5 As Harold Weinbrot and others suggest, the Ossian poems were celebrated largely because they confirmed readers’ most picturesque preconceptions about the “infancy of mankind.” 6There was room for disagreement. Many influential litterati were convinced of the poems’ antiquity, among them Goethe, Herder, Cesarotti, and a host of Scottish intellectuals. 7 But there were also detractors, mainly English—for example, Dr. Johnson and Edward Gibbon—although David Hume soon joined the skeptics, and the Scotsman Malcolm Laing issued the most crushing attack in the exchange several decades after Ossian’s first appearance in 1760. 8 The Ossian poems served a potent mixture of scholarly and political concerns, of which some were new but some were venerable. With a subtle but important shift in balance, the same mixture underlay the willingness of the most prominent eighteenth-century critics to discredit problematic texts and textual myths, even at the cost of an apparent reduction in historical knowledge. 9 For all parties Macpherson’s Ossian invited not only aesthetic delectation, but sustained thought about the relationship between early poetry and history and the value of early texts for reconstructing the past. [End Page 310]The question of British origins had preoccupied seventeenth-century antiquaries for a number of reasons, including Polydore Vergil’s unflattering Anglica Historia (first published 1546). 10 In the campaign to establish respectable national roots the Celtic druids had quickly become a kind of favorite example; they were presented early and often as heroes of British culture. The druids and their associates the bards had been described in their French setting by classical authors; William Camden, John Selden, and others transferred them easily to Celtic Britain. It was then straightforward to suggest further that the British Celts were the first discoverers of writing and philosophy, or at least discoverers concurrent with the ancient Hebrews, or both, this theory having been elaborated for the French Celts through Annius of Viterbo’s historical forgeries of 1498 and Annius’s French partisans. 11In fact this theory placed England at a disadvantage as Scotland, Ireland, and Wales had the more convincing joint claim to Celtic ancestry. Individual claims for Scotland and Ireland were frequently heard as well. The text most relevant to Ossian was the deist John Toland’s 1726 history of the druids, in which Toland both satirized the eighteenth-century clergy and argued that the ancient Celts of France and Scotland were colonists from Ireland—the original home of druidism, learning, and Toland. 12 In Toland’s version the theory made much of certain unpublished Irish manuscripts, supposedly dating from Cicero’s day and written in the “native” Irish alphabet. St. Patrick had burned hundreds of druidical religious books when he arrived in Ireland—proof that the Celts had a written language—but the bardic histories, couched in rugged verse, had escaped the evangelist’s flames. 13 Clearly, any respectable reply would need to draw on ancient manuscripts too.Even for readers unfamiliar with Toland, Macpherson’s texts... (shrink)

In the study of religion and terrorism, one of the most familiar incidents is the Sarin gas attack on the Tokyo subway system in 1995. With the execution of Shoko Asahara and his close associates in the summer of 2018, it would appear that the last chapter in this tragic tale has finally been written. I would argue, however, that there are still lessons to be learned from this event. In the present article, I describe the complexity of the epistemic (...) situation in which I found myself when I finally met AUM Shinrikyo in the spring of 1995. In addition to misunderstandings arising from monolithic inferences regarding AUM’s membership, I came to feel that certain anomalous items of information were swept under the rug—information that hinted at a more complex array of factors influencing AUM Shinrikyo and the subway attack. (shrink)

Like Berkeley’s Three Dialogues, David Chalmers’ now celebrated book makes for a good read as it leads us down the garden path. It is written with a like enthusiasm, and for the most part in a clear and forthright style. The author is not afraid of candidly drawing the consequences of his contentions. He takes consciousness seriously, according to his lights. And one must admire his insouciance in printing the Calvin & Hobbes cartoon strip that pulls the rug out from (...) under him. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Putting It on the LineMichael Moore (bio)IAmong the many ways to teach aesthetic education, a compelling one is to organize pedagogy around specific works of art, music, drama, and dance. This has been the central tenet of the Lincoln Center Institute and its sister institutes around the world. They concentrate on specific works because it allows participants to focus their minds, emotions, and energies on one set of images (...) and experiences. Excited by such an approach, many teachers return year after year, eager to tackle a new and varied repertory.But they cannot repeat the summer institute forever. They may need to take other workshops to satisfy professional (re)certification requirements. The school district may no longer reimburse them for the cost of the workshop. Their team may develop other interests. Often they find that the school has displaced the arts with other priorities, particularly in the light of so-called proficiency exams mandated by state boards of education.Whatever the reason, if teachers want to continue to do something meaningful in the arts, they may well have to become their own summer institute, lesson planner, and teaching artist rolled into one. The question then becomes, "How well did you learn the lessons of the institute?" The first lesson requirement is, "Do you know how to choose an appropriate work of art around which to develop aesthetic experiences and reflection for your students?" Behind that question, however, lies another: "What is your definition of art?" This is no idle philosophical exercise because one's answer underlies everything else done in the classroom in the name of aesthetic education. [End Page 62]Several years ago, Marcia Mulder Eaton of the University of Minnesota developed an exercise that enables teachers to examine their definitions of art in a practical way. She asked teachers to complete the following sentence: "Something is a work of art if and only if _________." She then showed them several objects, with the request that they write on a piece of paper if each object was a work of art, according to the definitions that they had written down.When I ran the exercise at a summer teachers institute in Pittsburgh, I displayed in order (1) a small flag; (2) an original painting; (3) a cheap cup from Wal-Mart; (4) a piece of fruit; (5) some driftwood; (6) and a basin wrench.1 Teachers voted on each piece as it was shown. Once the voting was completed, I asked them how they voted and how they justified their vote in the light of their definitions. When I have run this exercise elsewhere, the definitions and resultant criteria have broken down into four groups: (1) it was created, therefore, it is art; (2) an expert, such as an art museum or a critic, may have decreed it to be art; (3) "it touched me in some way and I cannot describe that feeling other than to call it art"; and (4) "I'm no connoisseur but I know what I like." There are strengths and weaknesses in each position:1. Anything that humans make is art because it is an artifact. Weakness: The definition is too general2. We should respect the opinions of experts. After all, they studied the matter much longer and more deeply than we have. They know what they are talking about. Weakness: What if I think they are off base? What if there is something in the work that appeals to me?3. "It somehow has touched me and I want to cherish it." "There is something in there that causes me to respond. It, therefore, has some kind of power." Weakness: This position does not lend itself very well to public discussion, unless you have something you can point to or explain in a way that gets through to others.4. "I don't know much about art, but I know what I like." (Well, let's hear it for rugged individualism!) Weakness: It suggests a closed mind and an unwillingness to listen to others' opinions. Again, there is no opportunity for shared insights.The discussion in Pittsburgh dealt with, more or less, each of the above positions, but... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Coughin'/Coffin AirAdilifu Nama (bio)Rummaging through the early remnants of a society that is facing climatic transformations, a single microbe forced America to pause, ponder and grasp the meaning of mortality in the early spring of 2020. Such a characterization is much more poetic than necessary, yet it is a frail attempt to capture the grand scale of the psychological and economic disorientation that has assailed the world and continues (...) to make suffocation a pervasive and global experience. Unfortunately, against a backdrop of pandemic savagery, a new spectacle of suffocation emerged to rival COVID-19's viral chokehold on humanity. On May 25th, 2020, George Floyd, a 46-year-old Black man, went down the streets of Minneapolis to buy a pack of cigarettes at his local grocery store. Shortly afterward, a new barbarism was broadcast for millions to partake in primetime consumption. The world witnessed a white police officer place his knee on Floyd's neck as he lay handcuffed, face on the pavement. The medical stat line reads "suffocation to death" but, in reality, Floyd cried out for his mother while a white man murdered him in broad daylight, had his knee pressed against Floyd's neck for over nine minutes: nine minutes that feels like nine hours to see it unfold. Floyd's final moments consisted of cries for his mother, the woman who breathed him into being. She had already passed but his last breaths before he died was for his mother, and with that, the world was reminded that America was birthed out of violence.America, where petty settler concerns were repackaged as God's imperative to morally justify the eradication of the indigenous population and cultural molestation resulted in annual holidays of thanks for bounties stolen and scalps delivered. Despite this, for far too many Americans, the true "gung-ho" spirit of rugged American individualism and notions of exceptionalism is not in declarations of accomplishment but found in the radical real-estate politics of manifest destiny and a torture economy, commonly referred to as American enslavement. This system of wealth extraction enshrined the public ruin of Black bodies with public beatings to compel compliance, and later public lynchings to intimidate and psychologically terrorize Black folk into a forever state of political timidity. Public lynching was the booby prized bait-and-switch from a [End Page 140] Reconstruction paradise to an extra-legal purgatory of terroristic intimidation: a spiffed-up spectacle of human degradation inspired by the old American barbarism of Indian removal and witch burning.When it comes to American lynching, not only was it a morbid spectacle but, for some, a depraved keepsake for posterity. If one missed Black corpses dangling from sturdy tree limbs, and the grapevine could only deliver soured tidbits and not juicy details of the slaying, a picture was worth a thousand obscene words. The alchemy of flash powder mixed with white smoke created eerie postcards to purchase by the time you got to town. This was some of that ole time religion. How could it not get worse than that? But when it concerns the destruction of Black bodies, like a morbid merry-go-round, something wicked this way comes. New incarnations of public death practices are guaranteed to return with extreme prejudice, laying waste to Black bodies, minds, dreams, and futures. Live births are not shown on television, but when it concerns Black folk, live deaths are shown ad nauseam. And there will be reruns, brothers and sisters. This was the traumatic reality of the digital documentation of George Floyd's savage public execution. The reruns of his tortured asphyxiation.Although political injustices, massacres, and wars have ebbed and flowed, waxed, and waned over decades, Black folk have lived in a constant state of vulnerability of negation; for Black folk, there is no place for us to catch our breath, to grab a brief respite from race in America. This is a cornerstone of the Black Experience in America. The cost of being the wrong color can leave you breathless: at the park playing, in group homes, police detention cells, making a sojourn back to the crib after a quick Skittles run, jogging around town... (shrink)

Canadian landscapes on gallery walls in art museums serve as a primer for understanding the nation. Visitors cannot easily escape the purposeful emptiness of rugged scenes meant to visually assure them of the nation’s right to colonial possession. Most viewers respond positively to these pretty pictures because such ways of seeing the art history of Canada has been naturalized and normalized, appearing politically neutral.Ubiquitous Canadian landscape paintings also reinforce colonial claiming of land and authorize erasure of Indigenous relations with the (...) land. Understanding the noted landscapes as something other than part of a national narrative, however, has not been widely accepted, even as a sanctioned mandate to broaden art historical narratives has resulted in displaying additional Indigenous art in galleries. In an analysis that considers ways to re-vision the privileged colonial narrative present in Canadian art museums, deeper ethical issues arise in relation to institutional structures. Here the analysis focuses on three projects in and around Canada 150, including examples such as Shame and Prejudice: A Story of Resilience, the rehanging of Norval Morrisseau’s Artist and Shaman between Two Worlds at the National Gallery of Canada, and the Michael Belmore and A. J. Casson: Nkweshkdaadiimgak Miinwaa Bakeziibiisan/Confluences and Tributaries exhibit at the Ottawa Art Gallery. This essay explores questions regarding whether ways of seeing land differently come about simply by hanging Indigenous art on institutional walls or whether more systemic change is required. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Crispin Sartwell SUBSTANCE AND SIGNIFICANCE: A THEORY OF POETRY Jean-Paul Sartre once said that what distinguishes the writer of poetry from the writer of prose is that the poet "considers words as things and not as signs."1 I think that this claim embodies a deep insight into the nature of poetry, and I want to develop it into a reasonably precise account of what poetry is. The immediate problem (...) that arises from Sartre's view is that it seems mysterious how anyone could regard words as objects without being fundamentally confused. For it is clear that Sartre thinks that the poet regards words as material objects. But a word, or a sequence of words such as a poem, is not a material object. A word or a poem can appear in many places at the same time; it can be inscribed, read, recited, or mentally traversed. The poem "itself" is not identical with any of these particular manifestations. I can burn my copy of Shakespeare's sonnets, but I cannot burn Shakespeare's sonnets; a poem is, in the phrase of Arthur Danto, "logically incombustible."2 Shakespeare's manuscript is lost; the sonnets live on. My recitation of a poem ends, say, at three o'clock, but the poem itself does not cease to exist at three o'clock. If identical objects cannot have divergent properties, then the poem is not identical with any of its particular manifestations. Nor can we identify a poem as the scattered, diffuse object consisting of all its inscriptions or recitations; to do so would be to identify the poem with a (perhaps massive) repetition of itself. A sonnet has fourteen lines, but the set of all the inscriptions ofShakespeare's "Shall I compare thee to a summer's Philosophy and Literature, © 1991, 15: 246-259 Crispin Sartwell247 day" is an item with an extraordinarily large number oflines. The poem itself does not grow as the set of its inscriptions grows. The poem, to repeat, is not a material object; rather, it is that which all the manifestations of it have in common; it is the structure or sequence which all the inscriptions and recitations share in virtue of which they are inscriptions and recitations of the poem. Now I do not intend to tackle the ontological problems surrounding poetry in any full-fledged way; to do so would strand us in extremely rugged metaphysical terrain. The ontological status of a poem might be in some ways analogous to the ontological status of a number, a property, and other purportedly "abstract" objects. And one cannot distinguish works ofpoetry from works ofprose (and, again, the project here is to make such a distinction) ontologically. Moby Dick is logically incombustible, as are, discouragingly enough, government reports. I propose, then, to adopt a familiar way of talking about the poem itself in distinction from its inscriptions, recitations, and mental traversais; I shall term a poem a type of which there are tokens. The tokens are the inscriptions, recitations, and so forth; the type is what these inscriptions and recitations have in common. The type/token terminology was first adopted by Peirce, and has been taken up by Wollheim, among many others.3 In itself, such terminology does little to disperse various ontological problems, but I am going to proceed in the touching faith that such puzzles can eventually be solved, because the theory of poetry I will develop depends on some such distinction being made out. And though the theory could perhaps be reconstructed even on a fairly thoroughgoing nominalism, I am going to treat poems as abstract entities, because as far as I can see, nominalism of the type endorsed by Nelson Goodman, for example, introduces more difficulties than it solves. Goodman identifies inscriptions ofa poem (for example) as items which display sameness ofspelling, which, relative to a system of notation, correspond exactly with regard to the sequence of letters, spaces, and punctuation marks.4 Among other things, this makes poetry (or any linguistic item) impossible to translate into different languages; it even makes it impossible to update, say, The Canterbury Tales into contemporary spelling. Now in fact there are severe and special translation problems... (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:On PartnershipRyan Schwarz, Duncan Smith-Rohrberg Maru, Dan Schwarz, Bibhav Acharya, Bijay Acharya, Ruma Rajbhandari, Jason Andrews, Gregory Karelas, Ranju Sharma, and Mark ArnoldyRecently, Bayalpata Hospital, in the rural district of Achham, Nepal almost collapsed under the weight of its own staff's discontent. The hospital had been largely abandoned until 2009 when our organization, Nyaya Health, renovated and opened it in partnership with the Nepali government. Since then, the hospital (...) has seen great progress and has experienced widespread community support. Nonetheless, earlier this year, a broad-based staff revolt occurred, led primarily by our senior clinical staff members, raising concerns that Nyaya's management policies were ineffective, and wages and benefits were too low. The unrest included everything from a strike, limiting services to our patients, to aggression against non-strikers and slander and racist comments in public media against the Nyaya Health Board of Directors. Ultimately, the conflict was resolved, though not without the departure of our three most senior clinicians. The incident deeply damaged staff morale [End Page 101] and impeded basic services to our patients, and from our perspective as a leadership and management team, it was deeply troubling and spiritually challenging. We have learned much in the wake of the strike, but here we focus more narrowly on the concept of partnerships in our work by examining the recent strike and the two key issues that lead to it: wages and benefits, and management policies at Bayalpata Hospital.In grappling with the recent staff crisis, some of our leadership team expressed concerns that we would never be able to develop a true partnership in Achham if our senior-level employees led strikes against the organization. The leaders of the strike were our most well-educated and high-ranking staff. They were also individuals who had come to work for us specifically citing the moral imperative of our work, and their pride in helping to serve the poorest of the poor. One leadership team member asked, "What is 'partnership' then? We came into this work with the premise that we would work together, with our partnership built around the right to health—but who are our partners if they lead strikes damaging the very services our collective mission aims to offer?"Another leadership team member commented, "The first time I visited Achham I was invited for tea at Meena's* house (one of Nyaya's midwives). We arrived at her house and Meena greeted us warmly. She showed us in to a small room: there was no furniture, but there was an immaculately swept mat which we joined her on. We drank tea, seated on her rug, and listened to her tell us how she had come to live in the house, how she had come to work for Nyaya, and her pride in now being able to provide both for her own children, as well as, the children of her relatives. As the only employed family member, she now had the challenge of providing for all of them. When we question our partnership, I'm taken back to Meena's warm, but extremely poor, home. She has worked for Nyaya for almost four years. She has helped our organization provide free care to over 75,000 people. Is this not a type of 'partnership'?"Allow us to offer some background on the issue of wages—Meena has been with our team since 2008, and has been paid about $2,500 per year—a generous wage compared to other employers in the region. Meena was one of the striking staff members. Among other concerns about the way the hospital was being run, she and other staff asked indignantly why we couldn't provide them with higher wages, better benefits, and more resources, both for her and the hospital. Notably, Meena's salary (and the rest of our staff's) was well above her equivalent in other, more urban hospitals (to compensate for the extremely remote area in which we work), and in a district where most families are farmers, our staff's salaries occupy the highest income bracket in the region. Nonetheless, as is common throughout the world in both rich and poor areas... (shrink)

From the acclaimed author and scholar James C. Scott, the compelling tale of Asian peoples who until recently have stemmed the vast tide of state-making to live at arm’s length from any organized state society For two thousand years the disparate groups that now reside in Zomia (a mountainous region the size of Europe that consists of portions of seven Asian countries) have fled the projects of the organized state societies that surround them—slavery, conscription, taxes, corvée labor, epidemics, and warfare. (...) This book, essentially an “anarchist history,” is the first-ever examination of the huge literature on state-making whose author evaluates why people would deliberately and reactively remain stateless. Among the strategies employed by the people of Zomia to remain stateless are physical dispersion in rugged terrain; agricultural practices that enhance mobility; pliable ethnic identities; devotion to prophetic, millenarian leaders; and maintenance of a largely oral culture that allows them to reinvent their histories and genealogies as they move between and around states. In accessible language, James Scott, recognized worldwide as an eminent authority in Southeast Asian, peasant, and agrarian studies, tells the story of the peoples of Zomia and their unlikely odyssey in search of self-determination. He redefines our views on Asian politics, history, demographics, and even our fundamental ideas about what constitutes civilization, and challenges us with a radically different approach to history that presents events from the perspective of stateless peoples and redefines state-making as a form of “internal colonialism.” This new perspective requires a radical reevaluation of the civilizational narratives of the lowland states. Scott’s work on Zomia represents a new way to think of area studies that will be applicable to other runaway, fugitive, and marooned communities, be they Gypsies, Cossacks, tribes fleeing slave raiders, Marsh Arabs, or San-Bushmen. (shrink)

Bio-inspired design refers to the use of the natural world as a source of models for the design of artifacts. For example, Velcro is a fastening system made from nylon that deliberately imitates the structure of burrs, which are adapted to stick to animal fur. In general, in selecting and adapting models to design problems, designers can also seek to satisfy their ideological goals. That is, designers seek not only to solve technical problems but also to respect and promote professional (...) and societal values that they find important. This observation applies to bio-inspired design. This paper examines two ideologies that are present in bio-inspired design. The first ideology examined is biomimicry, on which the natural world is characterized as the result of natural selection, a competition for survival that produces rugged and individualistic organisms. The second ideology is biosynergism, on which the natural world is characterized as interdependent systems integrated into a larger whole that operates in a sustainable manner. Both of these ideologies are explicated and their effects on design work examined. (shrink)