The purpose of this project is to argue that we possess a minimal self. It will demonstrate that minimal selfhood arrives early in our development and continues to remain and influence us throughout our entire life. There are two areas of research which shape my understanding of the minimal self: phenomenology and enactivism. Phenomenology emphasizes the sense of givenness, ownership, or mineness that accompanies all of our experiences. Enactivism says there is a sensorimotor coupling that occurs between us and the (...) environment in a way which modulates the dynamic patterns of our self development; the laying down of these basic patterns helps make us who we are and gives rise to the phenomenological, experiential mineness. Drawing on these two core ideas, I will be arguing for a Phenomenological-Enactive Minimal Self. I will be emphasizing the role of the body and the role of affects as the most important components relevant to understanding minimal selfhood. Put more concretely, the set of conditions which constitute the PEMS view are: The minimal self is the experiential subject; the minimal sense of self is present whenever there is awareness. It is the subjectivity of experience, the sense of mineness, or givenness which our experiences contain. The phenomenological part of the PEMS view turns on the idea of a bodily and dynamic integration of sensorimotor coupling and affective experience. It is, ontologically speaking, the lived body in enactive engagement with the environment. It is this embodied subject which anchors and forms the foundation for the later ‘narrative’ self, which emerges from it and which is continually influenced by it. It is the subject enactively engaged with others, dependent on sensorimotor processes and affects. We have an identity, but it emerges from relational and dynamic processes. (shrink)

Drawing on recent advances in evolutionary biology, prominent scholars return to the question posed in a pathbreaking book: how evolution itself evolved.

Every day, new warnings emerge about artificial intelligence rebelling against us. All the while, a more immediate dilemma flies under the radar. Have forces been unleashed that are thrusting humanity down an ill-advised path, one that's increasingly making us behave like simple machines? In this wide-reaching, interdisciplinary book, Brett Frischmann and Evan Selinger examine what's happening to our lives as society embraces big data, predictive analytics, and smart environments. They explain how the goal of designing programmable worlds goes hand (...) in hand with engineering predictable and programmable people. Detailing new frameworks, provocative case studies, and mind-blowing thought experiments, Frischmann and Selinger reveal hidden connections between fitness trackers, electronic contracts, social media platforms, robotic companions, fake news, autonomous cars, and more. This powerful analysis should be read by anyone interested in understanding exactly how technology threatens the future of our society, and what we can do now to build something better. (shrink)

‘Rentier capitalism’ is the term increasingly used to describe economies dominated by rentiers, rents, and rent-generating assets. A growing body of scholarship considers how the ownership of such assets by individuals and households is reshaping patterns of class and inequality and accordingly requires the reconceptualisation of the latter phenomena. The significance of company-owned assets and corporate rents for class, inequality and their conceptualisation has not been considered, however. This article offers an exploratory investigation along these lines, highlighting the importance of (...) employees’ working relationship to company-owned, rent-generating assets for their class position. The article further reflects on how developments in this regard might be approached from the perspective of Marx’s writing on value, labour and class, and the challenges that those developments potentially pose to Marxian concepts. (shrink)

Foucault's notion of the biopolitical traces the evolution from the sovereign state to alternative forms of control, different techniques of domination—not reducible to state domination—and resistance. Of great interest in this development, particularly within the context of so-called "globalization," are Foucault's comments on race: Foucault suggests that the race struggle precedes even the class struggle, and that racism is but a by-product of the former. This article, via Society Must Be Defended, examines these matters in the light of other Foucauldian (...) concepts such as control society, governmentality, and the population. (shrink)

This chapter contains sections titled: 7 a.m.: These Boots Aren't Made for Walking Dressing for (Sexual) Success Shamefulness and the Walk of Shame You Can Walk, But You Can't Hide (The Shame).

Sensitivity has sometimes been thought to be a highly epistemologically significant property, serving as a proxy for a kind of responsiveness to the facts that ensure that the truth of our beliefs isn’t just a lucky coincidence. But it's an imperfect proxy: there are various well-known cases in which sensitivity-based anti-luck conditions return the wrong verdicts. And as a result of these failures, contemporary theorists often dismiss such conditions out of hand. I show here, though, that a sensitivity-based understanding of (...) epistemic luck can be developed that respects what was attractive about sensitivity-based approaches in the first place but that's immune to these failures. (shrink)

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)

The frame problem refers to the fact that organisms must be able to zero in on relevant aspects of the world and intelligently ignore the vast majority of the world that is irrelevant to their goals. In this paper we aim to point out the connection between two leading frameworks for thinking about how organisms achieve this. Predictive processing is a rapidly growing framework within cognitive science which suggests that organisms assign a high ‘weight’ to relevant aspects of the world, (...) effectively treating relevant aspects of the world as if they are more precise. This assignment of weight is called precision-weighting and is the predictive processing account of how organisms allocate their attention. Relevance Realization is a framework that conceptualizes an organism’s ability to realize relevance as resulting from a dynamical system in which a cognitive agent makes use of opponent processing relationships to zero in on relevant aspects of the world. In this paper we use recent work on the diametric model of autism and psychosis to demonstrate that the tradeoffs inherent to precision-weighting are also inherent to relevance realization. This connection will demonstrate that although these frameworks have a different intellectual background and use a different set of concepts and vocabulary, they are both pointing to the same underlying process. The fact that these different frameworks have converged on such a similar solution to the problem of how organisms realize relevance serves to demonstrate the plausibility of that solution. (shrink)

While research has focused on why certain entrepreneurs elect to create innovative solutions to social problems, very little is known about why some social entrepreneurs choose to scale their solutions while others do not. Research on scaling has generally focused on organizational characteristics often overlooking factors at the individual level that may affect scaling decisions. Drawing on the multidimensional construct of moral intensity, we propose a theoretical model of ethical decision making to explain why a social entrepreneur’s perception of moral (...) intensity of the social problem, coupled with their personal desire for control, can significantly influence scaling decisions. Specifically, we propose that higher levels of perceived moral intensity will positively influence the likelihood of scaling through open as opposed to closed modes in order to achieve greater speed and scope of social impact. However, we also propose this effect will be negatively moderated by a social entrepreneur’s higher levels of desire for control. Our model has implications for research and practice at the interface of ethics and social entrepreneurship. (shrink)

Implicit attitudes are mental states posited by psychologists to explain behaviors including implicit racial and gender bias. In this paper I investigate the belief view of the implicit attitudes, on which implicit attitudes are a kind of implicit belief. In particular, I focus on why implicit attitudes, if they are beliefs, are often resistant to updating in light of new evidence. I argue that extant versions of the belief view do not give a satisfactory account of this phenomenon. This is (...) because proponents of the belief view have focused on overly narrow explanations of recalcitrance in terms of belief storage. Expanding the focus of the belief view to the kinds of irrational and arational transitions between beliefs and other mental states provides compelling (if preliminary) explanations of recalcitrance. (shrink)

This essay examines the interconnected nature of salvation and health, and it does so by engaging both recent qualitative research and three scriptural accounts from the life, death, and resurrection of Jesus. In doing so, the essay argues that salvation and health—and their conceptual pairings, sin and disease—are never individualistic. These realities are always cosmic, communal, and interpersonal, even as sin and disease are fundamentally disintegrating and isolating. The salvation and health of people suffering with substance use issues are bound (...) up with the transformations of governing principalities and powers, social realities, and relationships. Health care practitioners and clergy should be wise, communal guides offering care and accompaniment in the pursuit of salvation and health. (shrink)

The field of emotion regulation has developed rapidly, and a number of emotion regulatory strategies have been identified. To date, empirical attention has focused on contrasting specific regulatio...

One recent topic of debate in Bayesian epistemology has been the question of whether imprecise credences can be rational. I argue that one account of imprecise credences, the orthodox treatment as defended by James M. Joyce, is untenable. Despite Joyce’s claims to the contrary, a puzzle introduced by Roger White shows that the orthodox account, when paired with Bas C. van Fraassen’s Reflection Principle, can lead to inconsistent beliefs. Proponents of imprecise credences, then, must either provide a compelling reason to (...) reject Reflection or admit that the rational credences in White’s case are precise. (shrink)

Which rules should guide our reasoning? Human reasoners often use reasoning shortcuts, called heuristics, which function well in some contexts but lack the universality of reasoning rules like deductive implication or inference to the best explanation. Does it follow that human reasoning is hopelessly irrational? I argue: no. Heuristic reasoning often represents human reasoners reaching a local rational maximum, reasoning more accurately than if they try to implement more “ideal” rules of reasoning. I argue this is a genuine rational achievement. (...) Our ideal rational advisors would advise us to reason with heuristic rules, not more complicated ideal rules. I argue we do not need a radical new account of epistemic norms to make sense of the success of heuristic reasoning. (shrink)

"Accompanies the exhibition Engaged Observers: Documentary Photography since the Sixties, held at the J. Paul Getty Museum, Los Angeles, June 29-November 17, 2010.".

Dictionary-making is an increasingly important avenue for cultural preservation and maintenance for Aboriginal people. It is also one of the main jobs performed by linguists working in Aboriginal communities. However, current tools for making dicitionaries are either not specifically designed for the purpose (Word, Nisus), with the result that dictionaries written in them are difficult to maintain, to keep consistent, and to manipulate automatically, or are too complex for many people to use (Shoebox), and are thereby wasted as potential resources. (...) Moreover, neither of these sets of tools provides a suitable user interface for people who simply want to browse or find words in a dictionary. We set out to design a dictionary 'template', written in software that was easy (and fun!) for people to use, and that maintained a consistent relationship among the information in the dictionary. (shrink)

This Article examines a constitutional problem that largely goes unnoticed and unexamined by legal scholars — the problem of technosocial engineering of humans. After defining terms and explaining the nature of the problem, I explain how techno-social engineering of humans is easily ignored, as we perform constrained cost-benefit analyses of incremental steps without contemplating the path we are on. I begin with two nonfiction stories, one involving techno-social engineering of human emotions and a second involving technosocial engineering of children’s preferences. (...) The stories highlight incremental steps down a path. Then, through plausible fictional extensions, I explore steps further down the path. The Article ends with a fact pattern familiar to every reader. It explains how the electronic contracting environment we experience regularly online is an example of techno-social engineering of humans with the intended consequence of nudging humans to behave like machines — perfectly rational, predictable, and ultimately programmable. (shrink)

This chapter focuses on one of the common fallacies in Western philosophy, 'denying the antecedent'. Like affirming the consequent, denying the antecedent is also a fallacious form of reasoning in formal logic. This time the problem occurs when the minor premise of a propositional syllogism denies the antecedent of a conditional statement. Denying the antecedent makes the mistake of assuming that if the antecedent is denied, then the consequent must also be denied. Like modus ponens, modus tollens is a valid (...) argument form because the truth of the premises guarantees the truth of the conclusion; however, like affirming the consequent, denying the antecedent is an invalid argument form because the truth of the premises does not guarantee the truth of the conclusion. The invalidity of denying the antecedent is confirmed by a truth table presented in the chapter. (shrink)

In his recent book, English Poetry; A Critical Introduction , Mr. F. W. Bateson makes the observation that as romantic criticism is now dead it should receive “decent and final interment.” By “romantic” criticism he seems to have in mind either what he calls the Pure Sound theory of poetry, which would have us believe that meaning has nothing to do with poetry, that poetry makes nothing but an emotional or physiological impact upon us; or the suggestion theory which argues (...) that “a good poem should mean very little while suggesting a good deal.” Both of these, according to Mr. Bateson, attempt “to justify the exclusion of meaning from poetry.”. (shrink)

When epistemologists talk about knowledge, the discussions traditionally include only a small class of other epistemic notions: belief, justification, probability, truth. In this paper, we propose that epistemologists should include an additional epistemic notion into the mix, namely the notion of assuming or taking for granted.

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 29.3 (1999) 81-101 [Access article in PDF] Sex without Sex, Queering the Market, the Collapse of the Political, the Death of Difference, and AIDS: Hailing Judith Butler Brett Levinson It is interesting to note that in Judith Butler's study of the social construction of sex, Gender Trouble (as well as in the sequel, Bodies That Matter), one finds barely a trace of sex. Or to put matters (...) more bluntly: in Butler's study of gender critiques that avoid or dismiss the matters of hetero- and homosexuality, in her examination of the relationship of gayness and lesbianism to feminism, and in her exposition of a politics of queerness--as to fucking, not a word. This omission is not tangential to Gender Trouble. It determines Butler's entire undertaking. 1. The (In)difference of Performance By illustrating that sex, like gender, is a social construction, Butler strives to tear not sex but both sex and gender from biological essentialism. For as Butler insists, as soon as we imagine sex (woman/man) as naturally given, and gender (feminine/masculine) as a product of social forces, we fall into the very gender essentialism that we seemingly called into question. This is because the sex/gender binary makes sex the ground of gender: a woman may be masculine or feminine, and she may subvert the social norms that demand that women act in a certain manner. But throughout all of these gender reversals, she remains a woman. Her behavior, therefore, is either far from her sex (if she is subversive) or close to it (if she conforms). But in either case, it is measured in terms of that sex, which stands as the essence or foundation of the conduct. Hence, within such a discourse, gender stereotypes do not actually emerge as social (thereby deconstructible) constructs since the substructure (sex) of their edifice is given prior to production.This thesis, which ultimately reveals that the sex/gender split reproduces the woman/man binary--the foundation of sexism--opens the way for one of Butler's most renowned interventions: her theory of performativity. Butlerian performance traces the intersection of Derrida's concept of mimesis and Foucault's understanding of power. Derrida argues that if a mark (in writing) or a sound (in speech) is to form part of a language, it must be iterable. Language hinges on social conventions, and social conventions on repetition, ritual. Repetition, therefore, does not follow (from) a pregiven [End Page 81] [Begin Page 83] sign but is a condition of its possibility: a sign must be repeatable before it is a sign. 1Derrida often translates these ideas into an analysis of "the citation," a fact Butler fully exploits. An articulation, Derrida argues, must be a priori citable (again, iterable) if it is to function as an articulation, as a "speech act." This means that deviance, miscitation, recontextualization, and the possible transformation or loss of an enunciation--any or all of which could occur via a citation--belong essentially to that enunciation. The repetitions that yield rituals, habits, and then norms are the same iterations that undermine those norms. But this is true not only for speech. It holds as well for the law: the citing, execution, reading, writing, and acknowledgment of the law, hence the possibility of the law's shift and even disappearance, pertain to the law's groundwork.Gender Trouble posits patriarchy and compulsive heterosexuality as two such citable laws. And as laws, they are powerful but not inevitable. Indeed, because the law of normalcy harbors its own deviance as a condition of its public emergence or deployment, this normalcy opens the way for its own transgression. One is indeed subject to the law of the norm. But this subjection cannot not grant the very alternative agency/subjectivity it strives to suppress.Hence for Butler, queer types such as the "femme" or the "butch," as they perhaps flaunt (through dress, bodily image, or public demonstration) the constructed character of their own sexual identities, recite and dis-cover the constructed, artificial... (shrink)

A Benacerraf–Field challenge is an argument intended to show that common realist theories of a given domain are untenable: such theories make it impossible to explain how we’ve arrived at the truth in that domain, and insofar as a theory makes our reliability in a domain inexplicable, we must either reject that theory or give up the relevant beliefs. But there’s no consensus about what would count here as a satisfactory explanation of our reliability. It’s sometimes suggested that giving such (...) an explanation would involve showing that our beliefs meet some modal condition, but realists have claimed that this sort of modal interpretation of the challenge deprives it of any force: since the facts in question are metaphysically necessary and so obtain in all possible worlds, it’s trivially easy, even given realism, to show that our beliefs have the relevant modal features. Here I show that this claim is mistaken—what motivates a modal interpretation of the challenge in the first place also motivates an understanding of the relevant features in terms of epistemic possibilities rather than metaphysical possibilities, and there are indeed epistemically possible worlds where the facts in question don’t obtain. (shrink)

Why can I not appropriately utter ‘It must be raining’ while standing outside in the rain, even though every world consistent with my knowledge is one in which it is raining? The common response to this problem is to hold that epistemic must, in addition to quantifying over epistemic possibilities, carries some additional evidential information concerning the source of one'S evidence. I argue that this is a mistake: epistemic modals are mere quantifiers over epistemic possibilities. My central claim is that (...) the seeming anomaly of the data above arises from a mistaken conception of what a possibility is. Instead of conceiving of possibilities as possible worlds, I argue that we should conceive of possibilities as answers to open questions. (shrink)

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)

It is commonly held that the context with respect to which an indexical is interpreted is determined independently of the interpretation of the indexical. This view, which I call Context Realism, has explanatory significance: it is because the context is what it is that an indexical refers to what it does. In this paper, I provide an argument against Context Realism. I then develop an alternative that I call Context Constructivism, according to which indexicals are defined not in terms of (...) features of utterance situations, but rather in terms of roles that objects could play. (shrink)

Truth by convention, once thought to be the foundation of a uniquely promising approach to explaining our access to the truth in nonempirical domains, is nowadays widely considered an absurdity. Its fall from grace has been due largely to the influence of an argument that can be sketched as follows: our linguistic conventions have the power to make it the case that a sentence expresses a particular proposition, but they can’t by themselves generate truth; whether a given proposition is true—and (...) so whether the sentence that expresses it is true—is a matter of what the world is like, which means it isn’t a matter of convention alone. The consensus is that this argument is decisive against truth by convention. Strikingly, though, it has rarely been formulated with much precision. Here I provide a new rendering of the argument, one that reveals its structure and makes transparent just what assumptions it requires, and then I assess conventionalists’ prospects for resisting each of those assumptions. I conclude that the consensus is mistaken: contrary to what is almost universally thought, there remains a promising way forward for the conventionalist project. Along the way, I clarify conventionalists’ commitments by thinking about what truth by convention would need to be like in order for conventionalism to do the epistemological work it’s intended to do. (shrink)

Understanding how cooperation evolves is central to explaining some core features of our biological world. Many important evolutionary events, such as the arrival of multicellularity or the origins of eusociality, are cooperative ventures between formerly solitary individuals. Explanations of the evolution of cooperation have primarily involved showing how cooperation can be maintained in the face of free-riding individuals whose success gradually undermines cooperation. In this paper I argue that there is a second, distinct, and less well explored, problem of cooperation (...) that I call the generation of benefit. Focusing on how benefit is generated within a group poses a different problem: how is it that individuals in a group can (at least in principle) do better than those who remain solitary? I present several different ways that benefit may be generated, each with different implications for how cooperation might be initiated, how it might further evolve, and how it might interact with different ways of maintaining cooperation. I argue that in some cases of cooperation, the most important underlying “problem” of cooperation may be how to generate benefit, rather than how to reduce conflict or prevent free-riding. (shrink)

The dual-use issue is often framed as a series of paralyzing ‘dilemmas’ facing the scientific community as well as institutions which support innovation. While this conceptualization of the dual-use issue can be useful in certain contexts its usefulness is more limited when reflecting on the governance and politics of the dual-use issue. Within this paper, key shortcomings of the dilemma framing are outlined. It is argued that many of the issues raised in the most recent debates about ‘dual-use’ bird flu (...) research remain unresolved. This includes questions about the trajectories of certain lines of research, as well as broader trends in the practice and governance of science. This leads to difficult questions about current approaches to the dual-use issue within the US, as well as internationally. (shrink)

The thesis that agents should calibrate their beliefs in the face of higher-order evidence—i.e., should adjust their first-order beliefs in response to evidence suggesting that the reasoning underlying those beliefs is faulty—is sometimes thought to be in tension with Bayesian approaches to belief update: in order to obey Bayesian norms, it’s claimed, agents must remain steadfast in the face of higher-order evidence. But I argue that this claim is incorrect. In particular, I motivate a minimal constraint on a reasonable treatment (...) of the evolution of self-locating beliefs over time and show that calibrationism is compatible with any generalized Bayesian approach that respects this constraint. I then use this result to argue that remaining steadfast isn’t the response to higher-order evidence that maximizes expected accuracy. (shrink)

Hilary Greaves and David Wallace argue that conditionalization maximizes expected accuracy and so is a rational requirement, but their argument presupposes a particular picture of the bridge between rationality and accuracy: the Best-Plan-to-Follow picture. And theorists such as Miriam Schoenfield and Robert Steel argue that it's possible to motivate an alternative picture—the Best-Plan-to-Make picture—that does not vindicate conditionalization. I show that these theorists are mistaken: it turns out that, if an update procedure maximizes expected accuracy on the Best-Plan-to-Follow picture, it's (...) guaranteed to maximize expected accuracy on the Best-Plan-to-Make picture as well, in which case moving from the former to the latter can't help us avoid the conclusion that conditionalization is a rational requirement. If there's a problem with Greaves and Wallace’s argument, it must lie elsewhere. (shrink)

In the United States, hate speech sits at the intersection of ethical and legal debates and has a complex relationship with journalism. The First Amendment provides broad legal protections for hate...

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 9.4 (2002) 353-358 [Access article in PDF] The Application of Nondual Epistemology to Anomalous Experience in Psychosis Caroline Brett THE COMMENTARIES PROVIDED by Marzanski and Bratton, and McGhee have drawn my attention to several ways in which my analysis could benefit from clarification or supplementation, and the range of the specific phenomena to which it can be applied. Since writing this paper nearly 3 (...) years ago, my own views of the area have developed, and in some aspects, shifted; nevertheless, within this response I shall comment on the specific aspects of the original paper that I feel may have been misunderstood or overlooked by the commentators, and those aspects that benefit from the broader perspective they provided.To clarify the direction of the original paper: I would describe it as an attempt to make a deeper examination of processes involved in some kinds of anomalous experience than is provided by the "cognitive problem-solving model"; in other words, to supplement rather than challenge or undermine this perspective. Moreover, the focus is intended to be more on identifying the point at which the experience, or the response to the experience (more on the relation between these two below) becomes pathological, than on cleanly distinguishing a psychotic state from a mystical one. However, because I do use these terms contrastively throughout the paper, I concede that these aims become blurred and may in fact be indistinguishable.Third, the paper concerns only a relatively narrow arena of both mystical and psychotic phenomenology, selected for the purpose of a tight conceptual analysis and comparability, and possibly suffers a lack of generalizability or scope of application as a result. Most notably, I leave aside the paranoid or persecutory interpretative framework often seen as paradigmatic of the psychotic state (although a brief mention of how emotionally relevant themes may arise out of anomalous cognition is included), focussing instead on the more "Schneiderian" aspects of psychotic phenomenology, in which there is a self-observed alteration of normal experience. 1 It may be an important point of contrast that I do not specifically focus on "hallucinations, voices, and visions" as described by McGhee and, to an extent, Jackson and Fulford. It may also be worth [End Page 353] flagging up the fact that I do not focus on "delusional beliefs" at all, instead choosing to focus on the "delusional mood," which notably does not involve crystallized delusions as such. As a result, the main aim is not to compare two descriptively defined states of mind, as seems to be suggested by McGhee in his commentary, but rather to see to what extent a certain form of experience can be understood within a particular epistemological structure, and the implications of this.Further to this issue, Marzanski and Bratton raise an objection to a view in which a common core of mystical experience is posited; one which could be identified interculturally and independently of "the language and tradition in which the self is formed." They make an important point that the perspective gained by applying the epistemology of Zen Buddhism or Advaita Vedanta may have no authority in helping to understand the locus of pathology in anomalous experiences that have occurred in an individual who is not established in these cultures or traditions or for a person who does not accept these epistemologies in the first place. The issue of the existence of some core mystical experiences that are translated into religious experiences in different cultures is a matter of comparative religion and theology, and outside the scope of this paper (although my own opinion is that such a core exists). In the absence of any argument to support this opinion, it must be conceded that this may severely limit the applicability of my analysis, especially if irreconcilable differences are thought to exist between the epistemologies of, for example, theistic and monistic philosophies. However, I would suggest that whatever wisdom can be gleaned from the various spiritual doctrines in existence around the world with regard to unusual and/or distressing states of mind should be absorbed where... (shrink)

How can Scripture address the crucial justice issues of our time? In this book Mark Brett offers a careful reading of biblical texts that speak to such pressing public issues as the legacies of colonialism, the demands of asylum seekers, the challenges of climate change, and the shaping of redemptive economies. Brett argues that the Hebrew Bible can be read as a series of reflections on political trauma and healing -- the long saga of successive ancient empires violently (...) asserting their sovereignty over Israel and of the Israelites forced to live out new pathways toward restoration. Brett retrieves the prophetic voice of Scripture and applies it to our contemporary world, addressing current justice issues in a relevant, constructive, compelling manner. (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 The Anticipatory Corpse, Jeffrey Bishop claims that modern medicine has lost formal and final causality as the dead body has become epistemologically normative, and that a singular focus on efficient and material causality has thoroughly distorted modern medical practice. Bishop implies that the renewal of medicine will require its housing in alternate social spaces. This essay critiques both Bishop’s diagnosis and therapy by arguing, first, that alternate social imaginaries, though perhaps marginalized, are already present within the practice of medicine. (...) And second, the essay argues that alternate social imaginaries in medicine can be reclaimed not through separatist communities but in the re-narration of conceptually underdetermined practices. Given Bishop’s invitation for theology to engage medicine, this essay then draws from theologian Dietrich Bonhoeffer for the kind of diagnosis and therapy currently needed, concluding with a contemporary example of how an alternate social imaginary is being instantiated in modern medicine. (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)