Humans’ indigenous microbes strongly influence organ functions in an age‐ and diet‐dependent manner, adding an important dimension to aging biology that remains poorly understood. Although age‐related differences in the gut microbiota composition correlate with age‐related loss of organ function and diseases, including inflammation and frailty, variation exists among the elderly, especially centenarians and people living in areas of extreme longevity. Studies using short‐lived as well as nonsenescent model organisms provide surprising functional insights into factors affecting aging and implicate attenuating effects (...) of microbes as well as a crucial role for certain transcription factors like forkhead box O. The unexpected beneficial effects of microbes on aged animals imply an even more complex interplay between the gut microbiome and the host. The microbiome constitutes the major interface between humans and the environment, is influenced by biosocial stressors and behaviors, and mediates effects on health and aging processes, while being moderated by sex and developmental stages. (shrink)

Many bacteria that cause disease have the capacity to enter into and live within eukaryotic cells such as epithelial cells and macrophages. The mechanisms used by these organisms to achieve and maintain this intracellular lifestyle vary considerably, but most mechanisms involve subversion and exploitation of host cell functions. Entry into non‐phagocytic cells involves triggering host signal transduction mechanisms to induce rearrangement of the host cytoskeleton, thereby facilitating bacterial uptake. Once inside the host cell, intracellular pathogens either remain within membrane bound (...) inclusions or escape to the cytoplasm. Those living in the cytoplasm can further pirate the host actin system, using actin as a mechanism to facilitate movement within and between host cells. Organisms remaining within the vacuole have specialized mechanisms for intracellular survival and growth which involve additional communication with the host cell. Some of the processes involved in the various steps of facultative intracellular parasitism are discussed in the context of subverting the host cell cytoskeleton and signal transduction pathways for bacterial benefit. (shrink)

Diseases caused by Salmonella species are characterized by bacterial invasion of host cells. Salmonella invasion requires a genetic locus (inv) with homology to bacterial systems involved in specific protein export and organelle assembly. Until recently, the actual Salmonella invasion factors exported or assembled by the inv system remained unidentified. It now appears that Salmonella produces novel appendages upon contact with host cells. These appendages are transient, appearing and disappearing rapidly from the bacterial surface. Appendages are altered in strains unable to (...) invade due to mutations within the inv/spa locus. Therefore, a role for the invasion locus has been identified, providing another example of bacterial pathogens responding to signals provided by the host cell surface. (shrink)

Graphical AbstractIdentifying the properties and molecules of the intestinal microbiome may help our understanding of various diseases and therefore facilitate their treatment; from excluding pathogens to manipulation of the immune system and regulation of non-intestinal sites.

Emotion Review, Volume 14, Issue 3, Page 167-181, July 2022. A growing cadre of influential scholars has converged on a circumscribed definition of empathy as restricted only to feeling the same emotion that one perceives another is feeling. We argue that this restrictive isomorphic matching definition is deeply problematic because it deviates dramatically from traditional conceptualizations of empathy and unmoors the construct from generations of scientific research and clinical practice; insistence on an isomorphic form undercuts much of the functional value (...) of empathy from multiple perspectives of analysis; and combining the opposing concepts of isomorphic matching and self-other awareness implicitly requires motivational content, causing the RIM definition to implicitly require the kind of non-matching emotional content that it explicitly seeks to exclude. (shrink)

How does evolution grow bigger brains? It has been widely assumed that growth of individual structures and functional systems in response to niche-specific cognitive challenges is the most plausible mechanism for brain expansion in mammals. Comparison of multiple regressions on allometric data for 131 mammalian species, however, suggests that for 9 of 11 brain structures taxonomic and body size factors are less important than covariance of these major structures with each other. Which structure grows biggest is largely predicted by a (...) conserved order of neurogenesis that can be derived from the basic axial structure of the developing brain. This conserved order of neurogenesis predicts the relative scaling not only of gross brain regions like the isocortex or mesencephalon, but also the level of detail of individual thalamic nuclei. Special selection of particular areas for specific functions does occur, but it is a minor factor compared to the large-scale covariance of the whole brain. The idea that enlarged isocortex could be a a by-product of structural constraints later adapted for various behaviors, contrasts with approaches to selection of particular brain regions for cognitively advanced uses, as is commonly assumed in the case of hominid brain evolution. (shrink)

The three commentaries on “Why We Should Reject the Restrictive Isomorphic Matching (RIM) Definition of Empathy” mostly concurred with our critique of that widely adopted definition of empathy. Yet, commenters also raised important questions relating to the clarity and operationalizability of our recommended alternative: returning to a classical conceptualization of empathy as a dynamic, functionally oriented, multi-faceted unfolding process. To help contextualize these issues, we provide an extended analogy between empathy research and creativity research, areas of study which are conceptually (...) linked and have faced similar conceptual and methodological obstacles. In doing so, we highlight the challenge of (a) distilling empathy down to a firm operationalizable definition without (b) losing sight of the general meaning and real-world value of the construct. (shrink)

Emotion Review, Ahead of Print. The three commentaries on “Why We Should Reject the Restrictive Isomorphic Matching Definition of Empathy” mostly concurred with our critique of that widely adopted definition of empathy. Yet, commenters also raised important questions relating to the clarity and operationalizability of our recommended alternative: returning to a classical conceptualization of empathy as a dynamic, functionally oriented, multi-faceted unfolding process. To help contextualize these issues, we provide an extended analogy between empathy research and creativity research, areas of (...) study which are conceptually linked and have faced similar conceptual and methodological obstacles. In doing so, we highlight the challenge of distilling empathy down to a firm operationalizable definition without losing sight of the general meaning and real-world value of the construct. (shrink)

In this issue of Perspectives in Biology and Medicine, Schneiderman and colleagues critique a recent multi-society policy statement—developed by the American Thoracic Society and endorsed by four other organizations—entitled “Responding to Requests for Potentially Inappropriate Treatment in Intensive Care Units”. The focus of Schneiderman’s critique is the Multiorganization Policy Statement’s choice of the term “potentially inappropriate” to describe a class of interventions that clinicians should resist providing for patients near the end of life, even when patients or their families request (...) or demand them.1 Schneiderman and colleagues argue that the term... (shrink)

First, we clarify the central nature of our argument: our attempt is to apportion variation in brain size between developmental constraint, system-specific change, and change, underlining the unexpectedly large role of developmental constraint, but making no case for exclusivity. We consider the special cases of unusual hypertrophy of single structures in single species, regressive nervous systems, and the unusually variable cerebellum raised by the commentators. We defend the description of the cortex (or any developmentally-constrained structure) as a potential spandrel, and (...) weigh the implications of the spandrel concept for the course of human evolution. The empirical and statistical objections raised in the commentary of Barton are discussed at length. Finally, we catalogue and comment on the suggestions of new ways to study brain evolution, and new aspects of brain evolution to study. (shrink)

Building on existing studies suggesting that corporate social performance (CSP) is important in the job choice process, the authors investigate job seekers’perceptions of importance of CSP and explore effects of CSP dimensions on organizational attractiveness. Job seekers consider CSP important to assessment of firms and rate five specific CSP dimensions (environment, community relations, employee relations, diversity, and product issues) as more important than six other CSP dimensions. Using signaling theory and social identity theory, the authors hypothesize differences in effects of (...) CSP data on ratings of employer attractiveness and find that environment, community relations, and diversity dimensions have the largest affect on attractiveness ratings. (shrink)

When we hear about a transgression, we may consider whether the perpetrator’s individual circumstances make their transgression more understandable or excusable. Mitigating circumstances may reduce the severity of punishment that is deemed appropriate, both intuitively and legally. But importantly, in courts of public opinion and of law, mitigating information is typically presented only after information about a perpetrator’s transgression. We explore whether this sequence influences the force of mitigating evidence. Specifically, in two studies, we examined whether presenting evidence about a (...) perpetrator’s background before or after evidence of their violation influenced how severely U.S. participants punished perpetrators. In Study 1 (N = 132), evidence about the perpetrator’s mitigating circumstances reduced punishment only when it was presented before evidence about the perpetrator’s violation. Study 2 (N = 316) additionally revealed this moderating effect of presentation order across a variety of premeditated and impulsive violations. These findings are consistent with person-centered theories of punishment and with the Story Model of adjudication. (shrink)

Does exploration of the gut microbiota–brain axis expand our understanding of what it means to be human? Recognition and conceptualization of a gut microbiota–brain axis challenges our study of the nervous system. Here, integrating gut microbiota–brain research into the metaorganism model is proposed. The metaorganism—an expanded, dynamic unit comprising the host and commensal organisms—asserts a radical blurring between man and microbe. The metaorganism nervous system interacts with the exterior world through microbial‐colored lenses. Ongoing studies have reported that gut microbes contribute (...) to brain function and pathologies, even shaping higher neurological functions. How will continued collaborative efforts (e.g., between neurobiology and microbiology), including partnerships with the arts (e.g., philosophy), contribute to the knowledge of microbe‐to‐mind interactions? While this is not a systemic review, this nascent field is briefly described, highlighting ongoing challenges and recommendations for emerging gut microbiota–brain research. Also see the video abstract here https://youtu.be/lP9gOW8StXg. (shrink)

Since the advent of the women's movement, women have made unprecedented gains in almost every field, from politics to the professions. Paradoxically, doctors and mental health professionals have also seen a staggering increase in the numbers of young women suffering from an epidemic of depression, eating disorders, and other physical and psychological problems. In The Cost of Competence, authors Brett Silverstein and Deborah Perlick argue that rather than simply labeling individual women as, say, anorexic or depressed, it is time (...) to look harder at the widespread prejudices within our society and child-rearing practices that lead thousands of young women to equate thinness with competence and success, and femininity with failure. They argue that continuing to treat depression, anxiety, anorexia and bulimia as separate disorders in young women can, in many cases, be a misguided approach since they are really part of a single syndrome. Furthermore, their fascinating research into the lives of forty prominent women from Elizabeth I to Eleanor Roosevelt show that these symptoms have been disrupting the lives of bright, ambitious women not for decades, but for centuries. Drawing on all the latest findings, rare historical research, cross-cultural comparisons, and their own study of over 2,000 contemporary women attending high schools and colleges, the authors present powerful new evidence to support the existence of a syndrome they call anxious somatic depression. Their investigation shows that the first symptoms usually surface in adolescence, most often in young women who aspire to excel academically and professionally. Many of the affected women grew up feeling that their parents valued sons over daughters. They identified intellectually with their successful fathers, not with their traditional homemaker mothers. Disordered eating is one way of rejecting the feminine bodies they perceive as barriers to achievement and recognition. Silverstein and Perlick uncover medical descriptions matching their diagnosis in Hippocratic texts from the fourth century B.C., in anthropological studies of Africa, Asia, and Latin America, and in case studies of many noted psychologists and psychiatrists, including the "hysteric" patients Freud used to develop his theories on psychoanalysis. They have also discovered that statistics on disordered eating, depression, and a host of other symptoms soared in eras in which women's opportunities grew--particularly the 1920s, when record numbers of women entered college and the workforce, the boyish silhouette of the flapper became the feminine ideal, and anorexia became epidemic, and again from the 1970s to the present day. The authors show that identifying this devastating syndrome is a first step toward its prevention and cure. The Cost of Competence presents an urgent message to parents, educators, policymakers, and the medical community on the crucial importance of providing young women with equal opportunity, and equal respect. (shrink)

David Shoemaker argues from (A) psychopaths’ emotional deficiency, to (B) their insensitivity to moral reasons, to (C) their lack of criminal responsibility. This response observes three important ambiguities in this argument, involving the interpretation of (1) psychopaths’ emotional deficit, (2) their insensitivity to reasons, and (3) their moral judgements. Resolving these ambiguities presents Shoemaker with a dilemma: his argument either equivocates or it is falsified by the empirical evidence. An alternative perspective on psychopaths’ moral and criminal responsibility is proposed.

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)

This article examines allusions to Greek poetry in two Greek verse inscriptions carved on public monuments for Lycian dynasts of the late fifth and early fourth centuriesb.c.(CEG177, 888). Scholarship on these epigrams celebrating the rule, achievements and outstanding qualities of the dynasts Gergis (LycianKheriga) and Arbinas (Erbinna) has largely focussed on the evidence they provide for Lycian history, dynastic ideology and Lycia's relationship to Greece. Less attention has been paid to the possible significance of their long-noted echoes of Greek poetry. (...) Literary analysis of these epigrams has been sidelined, it seems, owing to a prevailing assumption that they were composed and inscribed primarily for Greeks visiting or resident in Xanthus, the Lycian ‘capital’ where they were inscribed, and so their literariness, unheard by Lycian ears, cannot add to our understanding of Lycia and Lycians. Yet, a recent observation of Peter Thonemann suggests that the appropriation and manipulation of Greek poetry is in fact central to the dynastic intent of the epigrams: to assert Lycia's non-Greek, ‘Asiatic’ identity. (shrink)

This study, the third in a series of three, draws on a broader Norwegian research project exploring the phenomenon of support for young persons with mental health issues. The aim was to explore and explicate the sense of “nourishing communion”, as a somewhat neglected aspect of support. Fourteen Norwegian young adults, aged 18-25, were interviewed about their experiences of support. Data was analyzed using van Manen’s hermeneutic-phenomenological approach to open up possible meanings of how nourishing communion is concretely lived. Analysis (...) was supplemented by in-depth reflexive dialogues between the first and second author, which fostered a nourishing communion akin to the processes and dimensions of our phenomenon of interest. Findings highlight five intertwined existential themes: a) trusting the other to hold vulnerability safely; b) flourishing in mutual participation; c) acceptance in a felt togetherness; d) feeling found and received; and e) feeling an attuned resonance. The notion of “nourishing communion” as a significant but neglected element of support challenges current practice, suggesting the need for a different approach to collaboration with young persons and their networks. From the perspectives both of individual professional engagement and of policy making, there is a need for further exploration of how young persons might be supported to create and maintain a broader range of nourishing relationships. (shrink)

Hugh Everett III proposed that a quantum measurement can be treated as an interaction that correlates microscopic and macroscopic systems—particularly when the experimenter herself is included among those macroscopic systems. It has been difficult, however, to determine precisely what this proposal amounts to. Almost without exception, commentators have held that there are ambiguities in Everett’s theory of measurement that result from significant—even embarrassing—omissions. In the present paper, we resist the conclusion that Everett’s proposal is incomplete, and we develop a close (...) reading that accounts for apparent oversights. We begin by taking a look at how Everett set up his project—his method and his criterion of success. Illuminating parallels are found between Everett’s method and then-contemporary thought regarding inter-theoretic reduction. Also, from unpublished papers and correspondence, we are able to piece together how Everett judged the success of his theory of measurement, which completes our account of his intended contribution to the resolution of the quantum measurement problem. (shrink)

Proponents of nonviolent tactics often highlight the extent to which they rival arms as effective means of resistance. Erica Chenoweth and Maria Stephan, for instance, compare civil resistance favorably to armed insurrection as means of bringing about progressive political change. In Ethics, Security, and the War-Machine, Ned Dobos cites their work in support of the claim that similar methods—organized according to Gene Sharp's idea of “civilian-based defense”—may be substituted for regular armed forces in the face of international aggression. I deconstruct (...) this line of pacifist thought by arguing that it builds on the wrong binary. Turning away from a violence-nonviolence dichotomy structured around harmfulness, I look to Richard B. Gregg and Hannah Arendt for an account of nonviolent power defined by non-coercion. Whereas nonviolent coercion in the wrong hands still has the potential to subvert democratic institutions—just as armed methods can—Gregg's and Arendt's conceptions of nonviolent power identify a necessary bulwark against both forms of subversion. The dangers of nonviolent coercion can be seen in the largely nonviolent attempts at civil subversion by supporters of Donald Trump during Trump's attempts to overturn the results of the U.S. presidential election in 2020, while the effectiveness of noncoercive, nonviolent power is illustrated by the resistance of U.S. democratic institutions to resist them. (shrink)

Over a career spanning American history from the 1880s to the 1950s, John Dewey sought not only to forge a persuasive argument for his conviction that "democracy is freedom" but also to realize his democratic ideals through political activism. Widely considered modern America's most important philosopher, Dewey made his views known both through his writings and through such controversial episodes as his leadership of educational reform at the turn of the century; his support of American intervention in World War I (...) and his leading role in the Outlawry of War movement after the war; and his participation in both radical and anti-communist politics in the 1930s and 40s. Robert B. Westbrook reconstructs the evolution of Dewey's thought and practice in this masterful intellectual biography, combining readings of his major works with an engaging account of key chapters in his activism. Westbrook pays particular attention to the impact upon Dewey of conversations and debates with contemporaries from William James and Reinhold Niebuhr to Jane Addams and Leon Trotsky. Countering prevailing interpretations of Dewey's contribution to the ideology of American liberalism, he discovers a more unorthodox Dewey—a deviant within the liberal community who was steadily radicalized by his profound faith in participatory democracy. Anyone concerned with the nature of democracy and the future of liberalism in America—including educators, moral and social philosophers, social scientists, political theorists, and intellectual and cultural historians—will find John Dewey and American Democracy indispensable reading. (shrink)

The article by Barbey & Sloman (B&S) provides a valuable framework for integrating research on base-rate neglect and respect. The theoretical arguments and data supporting the nested set model are persuasive. But we found the dual-process account to be under-specified and less compelling. Our concerns are based on (a) inconsistencies within the literature cited by B&S, and (b) studies of base-rate neglect in categorization.

In 2014, Brett Bailey’s Exhibit B site-specific installation created a media storm and protests throughout Europe. One such protest was in London, leading to the cancellation of his show at the Barbican. Consternation caused by art work is not a new phenomenon, and indeed one of the enduring purposes of art is to push the boundaries of acceptability and to show sights that are normally kept hidden from the public gaze. From some of the Impressionists’ exhibits to twentieth century (...) art works such as Andres Serrano’s Piss Christ in 1987 and Chris Ofili’s The Holy Virgin Mary 1996, art has caused offence in a variety of ways. This article examines Exhibit B to identify the reasons for its reception. In broad outline, as a white artist his presentation of black oppression was regarded at best as naïve and at worse as culturally inappropriate. (shrink)

Fish, S. Georgics of the mind: Bacon's philosophy and the experience of his Essays.--Brett, R. L. Thomas Hobbes.--Watt, I. Realism and the novel.--Tuveson, E. Locke and Sterne.--Kampf, L. Gibbon and Hume.--Frye, N. Blake's case against Locke.--Abrams, M. H. Mechanical and organic psychologies of literary invention.--Ryle, G. Jane Austen and the moralists.--Schneewind, J. B. Moral problems and moral philosophy in the Victorian period.--Donagan, A. Victorian philosophical prose: J. S. Mill and F. H. Bradley.--Pitcher, G. Wittgenstein, nonsense, and Lewis Carroll.--Bolgan, A. (...) C. The philosophy of F. H. Bradley and the mind and art of T. S. Eliot: an introduction.--Davie, D. Yeats, Berkeley, and Romanticism.--Ross, M. L. The mythology of friendship: D. H. Lawrence, Bertrand Russell, and "The Blind man".--Rosenbaum, S. P. The philosophical realism of Virginia Woolf.--Bibliography (p. 357-360). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:June 25, 2012 (9:21 pm) E:\CPBR\RUSSJOUR\TYPE3201\russell 32,1 060 red.wpd russell: the Journal of Bertrand Russell Studies n.s. 32 (summer 2012): 83–6 The Bertrand Russell Research Centre, McMaster U. issn 0036-01631; online 1913-8032 ibliographies, rchival nventories, ndexes A BIBLIOGRAPHY OF PATRICIA RUSSELL Kenneth Blackwell Russell Archives/Russell Research Centre / McMaster U. Hamilton, on, Canada l8s 4l6 [email protected] B ertrand Russell took his own advice not to marry a woman novelist, (...) but he did marry women who wrote for publication. His third wife, Patricia Russell (née Marjorie Spence, then Patricia Helen Spence, and, after divorcing Russell, Mrs. P.yH. Spence) was no exception. Having studied history at Oxford, she did a great deal of research for Russell and some actual writing. She did some public speaking during the ccny case in 1940, and in 1946 she organized a major meeting in Cambridge for the Save Europe Now organization. Later in the 1940s she began employment in town planning, and brief mentions of that topic show up in Authority and the Individualz (1949). The Bodleian Library, Oxford, has a box of her papers, placed, at her instructions, under a very lengthy embargo. On one occasion while they were in America there was an employment opportunity for her. It involved her writing skills, and her husband drafted the following testimonial. With its strikeouts, it is unWnished in the form in which it survives, and we cannot be sure it was sent. It is dated December 6, 1941. My wife, Patricia Helen Russell, has, throughout the last ten years acted both as my collaborator and as my secretary. In the latter capacity she has drafted and written, on my behalf, letters on a great variety of subjects, and has shown great skill in doing so, both as regards literary style and grasp of the matter concerned. As regards collaboration: In “Freedom and Organization, 1814–1914”, she did a very large part of the research and a considerable part of the actual writing. In “The Amberley Papers”, which was published under our joint names, she did considerably more than half the work, not only as regards detail, but also as regards the general plan. In addition to this work on books, she has written magazine articles on my behalf, sometimes in part, sometimes wholly. Her purely secretarial work has been very extensive and always admirable. (ra1 142.079883) books By “the last ten years” Russell is dating the start of their collaboration to 1932. This is consistent with the acknowledgements he makes to her in several books on which she collaborated with him in various ways, in addition to her title-page June 25, 2012 (9:21 pm) E:\CPBR\RUSSJOUR\TYPE3201\russell 32,1 060 red.wpd 84 kenneth blackwell 1 See Brett Lintott, “Russell’s Aborted Book on Fascism”, Russellz 28 (2008): 39–64. credit in The Amberley Papers. They even planned a joint work, on the rise of Nazism and Fascism,1 but after some years it was discontinued. She contributed much to the unpublished book manuscript, “The Problems of Democracy”, written in 1941–42. Freedom and Organization, 1814–1914. London: George Allen & Unwin; New York: W.xW. Norton, 1934. Preface, p. viii: “Throughout the writing of this book, the work has been shared by my collaborator, Peter Spence, who has done half the research, a large part of the planning, and small portions of the actual writing, besides making innumerable valuable suggestions.” (The Wrst edition omitted “valuable” and an erratum slip was inserted.) In Praise of Idleness and Other Essays. London : George Allen & Unwin; New York: W.xW. Norton, 1935. Preface, p. 6: “I have also to acknowledge the assistance of Peter Spence in suggesting and discussing many of the subjects.” The Amberley Papers: the Letters and Diaries of Lord and Lady Amberley. Edited by Bertrand and Patricia Russell. 2 vols. London: Leonard & Virginia Woolf at the Hogarth Press; New York: W.yW. Norton & Company, 1937. The preface is signed “B.R.” above “P.R.” From Russell’s letter to The Times Literary Supplement, 20 March 1937: “Your reviewer treats the work as more mine and less my wife’s... (shrink)

This paper describes the perspectives of stakeholders within the North American dairy industry on key issues affecting the welfare of dairy cattle. Five heterogeneous focus groups were held during a dairy cattle welfare meeting in Guelph, Canada in October 2012. Each group contained between 7 and 10 participants and consisted of a mix of dairy producers, veterinarians, academics, students, and dairy industry specialists. The 1-h facilitated discussions were audio-recorded and transcribed verbatim. Content analysis of the resulting transcripts showed that participants (...) across all stakeholder categories identified lameness as the most important welfare issue facing dairy cattle. Other prominent issues of concern included cow comfort, disease, on-farm mortality, stockmanship, painful procedures, injuries, cull cow management, calf management, and restriction of behavioural freedoms. Participants typically gave several reasons for why they considered issues problematic. Underlying reasons were grouped according to animal-centered concerns [at both the individual and at the herd level ] and industry-centered concerns . This analysis identified areas of shared concern among diverse stakeholder groups, which should aid in the development of standards and policies that satisfy stakeholders within and external to the dairy industry. (shrink)

I love books for many things, but I despise them for introducing a physical limit to the free circulation of knowledge (compared to the Internet). At least, that's what I had always thought. continent. is an online journal aiming at, among other things, breaking with the established paradigms of how academic work has to be published in order to be respected among relevant peers. I'm the engineer behind the current version of continent. , making it work and keeping it running (...) since began in 2010. We provide an online platform for knowledge to circulate, beyond the limitations of institutional attachment or distribution of physical volumes. And regardless of not having a physical publication ourselves, and being a trans-national endeavour with core members spread across three continents, we had the honour to join the Publish Or Be Damned fair and conference of Northern European independent book publishers at Index Art Foundation in Stockholm, Sweden. The place was bursting with exceptional volumes made by some of the most interesting publishers in the European north. The encounter changed the way I think about such books: these editions are designed, engineered and crafted to a level of sophistication that they begin to hold more than just their informational value printed. They convey and communicate a form of tactile knowledge and pleasure, and this completely changed my perspective on the matter. Because continent. had not materialised yet and only appeared in the form of social events (such as those in Basel, Boston, New York, or Zürich), we could not offer any such tactile pleasures to those visiting our booth. Given this, my solution was to turn continent. 's participation into a spectacle of simulation. With so many important figures of the independent publishing world present, we staged a series of imaginary book-launch moments for the camera. Presenting a first quasi-materialisation of continent. in the form of a book, or rather, the hypothetical extrapolation of our red square shape from our logo into a red 30x30 cm slate. Thanks to all those that participated. Your presences allowed continent. to visualise what it would be like if we had a book, and had been published within the honorable circle of these fine publishers. Soon the day will come where this will become reality. Thanks to all who joined the fun and didn't mind me showing these to the rest of the world. I'll publish them here, for them not to perish, even if I shall be damned. Ida Marie Hede Bertelsen ( Pork Salad Press ) Abdul Dube ( sideprojects ) René Sørensen ( sideprojects ) Anders ( OEI Editör ) Brett Bloom ( Half Letter Press ) Anni Puolakkaby ( OK Do ) Kit Hammonds, Kate Phillimore, Louise O'Hare ( Publish and Be Damned ) Ingvar Högni ( Útúrdúr ) Fredrik Ehlin, Andjeas Ejksson, Oscar Mangione ( Geist Magazine ) Klara Källström, Thobias Fäldt ( B-B-B Books ) Laura Hatfield ( Witnas editors ) Chris Johnsen ( WITNAS editors ) Matthew Rana ( Witnas editors ) Ola Ståhl & Carl Lindh ( In Edit Mode Press ) Staffan Lundgren ( Axl Books ) Tuuka Kaila ( NAPA Books ) Vebjørn Guttormsgaard Møllberg + Ingrid Forlang ( Kuk et Parfyme ) Diana Baldon, Joanna Nowotny and Egle Kulbokaite ( Index Foundation ). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:192. THE HUME LITERATURE FOR 1983 The Hume literature from 1925 to 1976 has been thoroughly covered in my book Fifty Years of Hume Scholarship: A Bibliographical Guide (Edinburgh University Press, 1978; £9.50), which also lists the main earlier writings on Hume. Publications of the years 1977 to 1982 were listed in Hume Studies in previous Novembers. What follows here will bring the record up to the end of (...) 1983. Readers are invited to inform me of any omissions, and to send me offprints of their own articles and reviews. The intention is to maintain a complete bibliographical record of critical work on Hume, by the regular publication in Hume Studies of an annual bibliography, with addenda consisting of items omitted through ignorance in previous years. References to recently-appearing reviews (of books from earlier lists) are given at the end. The following abbreviations of journal titles are used here: APQ American Philosohical Quarterly JHI Journal of the History of Ideas JHP Journal of the History of Philosophy JP Journal of Philosophy PAS Proceedings of the Arisotelian Society PB Philosophical Books PQ Philosophical Quarterly PR Philosophical Review RIP Revue Internationale de Philosophie RM Review of Metaphysics TLS Times Literary Supplement Other abbreviations should be obvious enough, and mainly follow the British standard (no. 4148). 193, ARNOLD, N. S. 'Hume's Skepticism about Inductive Inference', JHP 21, 31-55. BARKER, S. 'Hume on the Logic of Design', Hume Studies 9, 1-18. [19-24] BERMAN, D. 'David Hume and the Suppression of Atheism', JHP 21, 375-87. BOX, M.? Gloss on Goldsmith's Remark on Hume', Notes & Queries 30, 59-60. BRETT, N. 'Hume's Debt to Kant', Hume Studies 9, 5973. BROUGHTON, J. 'Hume's Skepticism about Causal Inference', Pacific phil. Q. 64, 3-18. CALVERT, B. 'Another Problem about Part IX of Hume's Dialogues', Int. J. Phil. Relig. 14, 65-70. COLWELL, G.G. 'Miracles and History', Sophia 22, 9-14. DARWALL, S. L. Impartial Reason, ch. 5 ('Hume's Internalism1 ). Ithaca, N. Y. DEL VECCHIO, M. 'Un Impotesi di Lettura Esegetlica del "Dubbio Scettico" Humeano', Riv. crit. Stor. FiI. 38, 457-64. FOGELIN, R. J. 'The Tendency of Hume's Skepticism', in M. Burnyeat, The Skeptical Tradition, 397-412. Berkeley, CaI. GASKIN, J. CA. 'Hume's Attenuated Deism', Arch. Gesch. Phil. 65, 160-73. GEMES, K.? Refutation of Inductive Scepticism', Australas. J. Phil. 61, 434-8. GUTTENPLAN, S. 'Hume and Contemporary Ethical Naturalism', Midwest Stud. Phil. 8, 309-20. HARRIS, H. S. 'Hume and Barker on the Logic of Design', Hume Studies 9, 19-24. HARTSHORNE, C 'Hume's Metaphysics and its Influence', in C Hartshorne, Insights and Oversights of Great Thinkers, 136-50. HIRSCH, E. 'Hume's Distinction between Genuine and Fictitious Identity', Midwest Stud. Phil. 8, 321-38. 194, IMMERWAHR, J. 'David Hume, Sexism, and Sociobiology ', Sth. J. Phil. 21, 359-70. KIVY, P. 'Hume's Neighbour's Wife: An Essay on the Evolution of Hume's Aesthetics', Br. J. Aesth. 23, 195-208. KUEHN, M. 'Kant's Conception of "Hume's Problem"', JHP 21, 175-93. KUEHN, M. 'Hume's Antinomies', Hume Studies 9, 25-45. McCRACKEN, CJ. Malebranche and British Philosophy, ch. 7. Oxford. McLYNN, F.J. 'Jacobitism and David Hume: The Ideological Backlash Foiled', Hume Studies 9, 171-99. MALHERBE, M. 'La notion de circonstance dans la philosophie de Hume', Hume Studies 9, 130-49. NATHAN, G. J.? Humean Pattern of Justification', Hume Studies 9, 150-70. NIELSEN, K. 'Hobbesist and Humean Alternatives to a Religious Morality', Int. J. Phil. Relig. 14, 33-47. PENELHUM, T. 'Natural Belief and Religious Belief in Hume's Philosophy', P£ 33, 166-81. [182-6] PONKO, T. A. 'Artificial Virtue, Self-interest, and Acquired Social Concern', Hume Studies 9, 4658. ROD, W. 'The Rationalist Theory of Double Causality as an Object of Hume's Criticism', Erkenntnis 19, 315-29. ROHATYN, D. 'Hume's Dialectical Conceits: The Case of Dialogue XII', Phil. & phenomenol. Res. 43, 519-32. RUSSELL, P. 'On the Naturalism of Hume's "Reconciling Project"', Mind 92, 593-600. SCARRE, G. 'What was Hume's worry about Personal Identity?', Analysis 43, 217-21. SCARRE, G. 'Was Mill Really Concerned with Hume's Problem of... (shrink)

In Modernism and the Celtic Revival, Gregory Castle examines the impact of anthropology on the work of Irish Revivalists such as W. B. Yeats, John M. Synge and James Joyce. Castle argues that anthropology enabled Irish Revivalists to confront and combat British imperialism. Castle shows how Irish Modernists employed textual and rhetorical strategies first developed in anthropology to translate, reassemble, and edit oral and folk-cultural material. Drawing on a wide range of postcolonial theory, this book should be of interest to (...) scholars in Irish studies, postcolonial studies, and Modernism. (shrink)