We present four new change detection methods that create an automated change map from a probability map. In this case, the probability map was derived from a 3D model. The primary application of interest is aerial photographic applications, where the appearance, disappearance or change in position of small objects of a selectable class (e.g., cars) must be detected at a high success rate in spite of variations in magnification, lighting and background across the image. The methods rely on an earlier (...) derivation of a probability map. We describe the theory of the four methods, namely Bernoulli variables, Markov Random Fields, connected change, and relaxation-based segmentation, evaluate and compare their performance experimentally on a set probability maps derived from aerial photographs. (shrink)

The DNA of all species is constantly under threat from both endogenous and exogenous factors, which damage its chemical structure. Probably the most common lesion that arises in cellular DNA is the loss of a base to generate an abasic site, which is usually referred to as an apurinic or apyrimidinic (AP) site. Since these lesions are potentially both cytotoxic and mutagenic, cells of all organisms express dedicated repair enzymes, termed AP endonucleases, to counteract their damaging effects. Indeed, many organisms (...) consider it necessary to express two or more of these lesion‐specific endonucleases, underscoring the requirement that exists to remove AP sites for the maintenance of genome integrity and cell viability. Most AP endonucleases are very versatile enzymes, capable of performing numerous additional repair roles. In this article, we review the AP endonuclease class of repair enzymes, with emphasis on the evolutionary conservation of structural features, not only between prokaryotic and eukaryotic homologues, but also between these enzymes and the RNase H domain of one class of reverse transcriptase. (shrink)

La microfísica del poder –de la qual Michel Foucault esdevé el principal exponent– emergeix com un efecte del panorama que segueix el Maig del 68, en el qual sorgeix un cicle de noves lluites centrades en el reconeixement i el desenvolupament de nous tipus de subjectivitat. Ara que han passat trenta anys des de la mort de l’autor, defensaré la necessitat d’aplicar la microfísica del poder a una realitat que ja no pot respondre a unes anàlisis fonamentades en paràmetres estrictament (...) econòmics i que demanda, en canvi, eixamplar el camp de visió per incloure-hi el paper que juga el poder en la producció de les subjectivitats. (shrink)

El objetivo del presente artículo será realizar una revisión crítica de la interpretación realizada por D. Harvey del concepto de «acumulación originaria» expuesto por K. Marx en El Capital. A través del análisis de los escritos dónde Marx aborda esta cuestión, trataremos de demostrar que la aportación principal de Harvey -reinterpretar la acumulación originaria, no como proceso fundacional de las condiciones necesarias para la producción capitalista, sino como proceso continuo y permanente utilizado para restablecer las condiciones óptimas de la acumulación (...) de capital mediante la conquista de nuevos espacios- se sustenta en una interpretación parcial de los textos de crítica de la economía política marxianos que confunde la dimensión lógica e histórica del análisis marxiano. Así pues, argumentaremos que existe una base en los propios textos de Marx desde dónde interpretar la «acumulación originaria» como un proceso de desposesión constante en el desarrollo del modo de producción capitalista que, dependiente de la constante expansión, potencia su capacidad adaptativa mediante la conquista de aquellos factores de la economía todavía no incorporados al proceso del capital. (shrink)

Analitik psikoloji 20. yüzyılda İsviçreli psikoterapist Carl Gustav Jung tarafından oluşturulmuş kuramdır. Kuram sadece psikoterapi alanını değil psikolojiden teoloji, etnografi, edebiyat ve güzel sanatlara kadar pek çok bilim dalını da etkilemiştir. Jung’un kuramındaki en önemli başarısı; bilinçdışı ile bireysel bilinçdışı ve kolektif bilinçdışının keşfidir. Bu keşifle sadece çeşitli bilim dalları edebî metinlerde geçen kolektif imgeler ve onların kolektif simgelerinin neler olduğunu değil insanlar da ruhun ihtiyacının ne olduğunu öğrenmiştir. Jung’un kuramının birincil maddesi ontolojik açıdan insanın kendisinden daha güçlü bir varlığa (...) bağlanma ihtiyacıyla doğmasıdır. İnsan bu temel ihtiyacını göz ardı ederek yaşamını sürdürdüğünde enerjisini yapısına ters yönde isteklere harcayarak giderir. Nitekim insan doğası gereği hayatın çeşitli yönlerine ilgi duyan, onları gerçekleştirmede istekli olan varlıktır. Bu istekler bazen toplumun refahını engelleyici dolayısıyla dinî emirlere aykırı olabilir. Böylece gerek toplumun kurallarına gerek dinin buyruklarına ters düşülür. Bu durumda dinen istenilen insan olunamadığı gibi psikolojik açıdan da bireyselleşme gerçekleştirilememiş olur. Bireyselliğini gerçekleştirememiş insanlar Jung’un kuramında isimlendirdiği gibi gölgelerinin farkına varamamış kişilerdir. Analitik psikolojide insanlık adına çok önemli olan gölgelerin farkına varılması oldukça zordur. Klinik gözlemlerinden hareketle kuramını oluşturan Jung’a göre hayatı boyunca gölgelerinin farkına varamayan insanlar olduğu gibi hayatlarının bazı evrelerinde yaşadıkları tecrübe neticesinde kendilerini bitkin, yorgun hatta hasta hisseden insanların olması da mümkündür. Jung kuramında gölgelerinin farkına varamayan insanların; bireyselleşmelerinin gerçekleşmediğini belirtir. Ona göre insanlığın en büyük yıkımı bireyselleşmenin gerçekleşmediği toplumlardan kaynaklanacaktır. Makale; analitik psikolojide gölge arketipinin tasavvufî görüşte arzu, istek, hayatın ilkeleri manalarına da gelen nefs teriminin benzeşik oluşu üzerine kaleme alınmıştır. Bu sebeple makalede on bir tane mutasavvıf şairin dîvânında zikredilen nefs kelimesi kuram doğrultusunda titizlikle incelenmiştir. Makale Jung’un kuramı ışığında bir arketip olan gölge ibaresinin mutasavvıf şairlerin dîvânlarında incelenen nefs ibaresine karşılık geldiği elli bir manzumenin açıklanmasından oluşmaktadır. Elde edilen veriler neticesinde makale gölgenin tanımı, bilinçlenmeye başlama, gölgeleri tanıma, bireyselleşme ve gölge çeşitleri olmak üzere beş bölümdür. Makalede yer alan gölge çeşitleri; acelecilik, hırs, kibir ve kin alt bölümlerini ihtiva etmektedir. Bu alt bölümlerde insanın olumsuz özelliklerini anlatan gölge çeşitlerini bildiren manzumelerin aynı zamanda insanın bu kötü hasletleriyle nasıl mücadele edeceğine dair öğütleri, çözüm önerilerini içerdiği tespit edilmiştir. Mutasavvıf şairler tarafından okuyucusuna verilen bu öğütler Jung’un da kuramında özellikle üzerinde durduğu hasletlerdir. Çalışmayla gerek klasik Türk edebiyatı gerek Türk İslâm edebiyatı alanına metinlerde zikredilen kelimelerin sembolik anlamlarının kazandırılması, farklı bir derinlik getirilmesinin yanında teoloji bilim dallarına da katkı sağlaması ümit edilmektedir. (shrink)

Online crowdsourcing platforms have rapidly become a popular source of data collection. Despite the various advantages these platforms offer, there are substantial concerns regarding not only data validity issues, but also the ethical, societal, and global ramifications arising from the prevalent use of online crowdsourcing platforms. This paper seeks to expand the dialogue by examining both the “internal” aspects of crowdsourcing research practices, such as data quality issues, reporting transparency, and fair compensation, and the “external” aspects, in terms of how (...) the widespread use of crowdsourcing data collection shapes the nature of scientific communities and our society in general. Online participants in research studies are informal workers who provide labor in exchange for remuneration. The paper thus highlights the need for researchers to consider the markedly different political, economic, and socio-cultural characteristics of the Global North and the Global South when undertaking crowdsourcing research involving an international sample; such consideration is crucial for both increasing research validity and mitigating societal inequities. We encourage researchers to scrutinize the value systems underlying this popular data collection research method and its associated ethical, societal, and global ramifications, as well as provide a set of recommendations regarding the use of crowdsourcing platforms. (shrink)

Les études récentes ont montré que les femmes ont participé, tout au long du Moyen Age, à l’activité économique. Pourtant, leur place dans la production artistique médiévale est généralement ignorée des historiens de l’art, alors même que l’étude de la production d’un artiste ou d’un milieu montre clairement, par les sources et les œuvres, qu’elles ont été présentes à chaque étape du processus de création. La confrontation de la norme à la pratique, par l’analyse de la réglementation de la gilde (...) de Saint-Luc de quatorze villes (Nord, Flandre, Hainaut et Brabant) et des registres d’inscription à la gilde des métiers du livre brugeois, a permis de mettre en perspective les activités des femmes dans les métiers d’art. Elles apparaissent comme maîtresses, ayant passé la maîtrise du métier – et pas seulement de métiers dits féminins –, dirigeant l’atelier, aux côtés du mari ou seules (célibataires ou veuves) apprenties, formant parfois des garçons ou des filles au métier. Elles sont aussi les premières victimes des crises économiques. (shrink)

" Il n'y a pas plus de culture populaire que de culture élitaire : il y a des œuvres qui exhaussent, élèvent, transcendent, embellissent, d'autres qui diminuent, rabaissent, avilissent... Le comble du malentendu, ou de la lâcheté ambiante, c'est que nombre de moyens de communication et de divulgation ont fait avec cynisme le choix de promouvoir à outrance le populisme culturel [...] Le livre, quand il se tient dans l'espace spécifique de sa vocation intrinsèque, est encore cet objet de sens (...) et de pressentiment qui véhicule le meilleur de ce que l'humanité a à se proposer à elle-même.". (shrink)

Cet article tente de situer l’apparition et la définition de la nation parmi les quelques formes politiques des sociétés humaines (tribu, cité, empire). L’évolution de ces formes est en cours. L’article évalue les positions pour et contre la valeur des nations aujourd’hui, analyse quelques arguments pour et contre leurs rôles possibles, diagnostique l’état des formes politiques concurrentes (un monde d’empires ou de nations), prévoit quelques chemins possibles. Il est peu probable qu’un monde sans nations ressemble à ce qui a longtemps (...) été défini comme le seul progrès possible de la liberté politique. (shrink)

Entre justification et explication, entre dire et faire, la destruction. Est-ce une chose ou un événement? Un geste, une oeuvre ou une opération? Un thème ou un titre? Est-ce même bien un mot? Qu'appelle-t-on destruction? Avec Heidegger, Derrida en appelle à la destruction. Oui, à la destruction. L'a-t-on entendu? Comme Heidegger (et c'est aussi ce "comme" qu'il s'agira d'examiner ici), Derrida nomme et renomme la destruction. Il lui donne le temps et le nom, une renommée. Il la surnomme "déconstruction", par (...) exemple, ou, plus tard, "mal d'archive". Comme Heidegger, Derrida travaille, traduit et retraduit la destruction, faisant parfois comme si tous ses mots, tous les mots et les phrases qu'il propose et déploie à propos de la destruction, entretenaient des rapports sans rapport, rapports déjà trop clairs, ou encore bien obscurs. Qu'appelle-t-on destruction? Après Heidegger, Derrida s'y est attardé, lui qui parlait, encore et encore, de destination et de destruction, lui qui nous a rappelés si souvent à la destruction qui arrive, partout où elle arrive. Posons que c'était l'un de ses combats, l'une de ses longues guerres (avec lui-même, d'abord, et avec la destruction). Sera-ce finalement la nôtre? Est-il aujourd'hui temps de penser - après Heidegger, avec Derrida -, temps de combattre aussi peut-être, au moins d'écouter, la destruction qui vient? Est-il encore temps de témoigner de la destruction qui croit? (shrink)

Cognitive neuroscience aims to map mental processes onto brain function, which begs the question of what “mental processes” exist and how they relate to the tasks that are used to manipulate and measure them. This topic has been addressed informally in prior work, but we propose that cumulative progress in cognitive neuroscience requires a more systematic approach to representing the mental entities that are being mapped to brain function and the tasks used to manipulate and measure mental processes. We describe (...) a new open collaborative project that aims to provide a knowledge base for cognitive neuroscience, called the Cognitive Atlas, and outline how this project has the potential to drive novel discoveries about both mind and brain. (shrink)

L’épître aux Corinthiens, écrite vraisemblablement vers 96, est une clé de lecture et d’interprétation de la construction identitaire de l’Eglise. Dire que Clément intervient dans un contexte d’identité naissante ne doit cependant pas faire oublier qu’une identité n’est jamais figée. Mais comment déterminer ce qui relève d’adaptations ou ce qui menace l’identité ? L’épître de Clément mérite d’être relue en utilisant les concepts proposés par Paul Ricoeur. Les évènements qui agitaient « l’Eglise de Corinthe » furent considérés comme graves car (...) ils relevaient, selon « l’Eglise de Dieu en séjour à Rome », non de « l’identité-mêmeté » mais de « l’identité-ipséité ». Et c’est pourquoi ils portaient atteinte à la construction et à la configuration identitaires de « l’Eglise de Dieu ». Ainsi l’épître est une exhortation qui permet de repérer ce qui commençait à se construire comme « identité-ipséité » d’un « protocatholicisme » succédant au catholicisme primitif. (shrink)

Este artículo da los siguientes pasos: 1. Expone las principales tesis de E. Husserl que sustentan la psicología fenomenológica como estudio de la subjetividad: región de las regiones, en sus vertientes empírica y trascendental, en dos de sus obras: Psicología fenomenológica e Ideas II; 2) Desde esta orientación teórica plantea la recepción de la psicología fenomenológica en Colombia en las primeras décadas de este siglo, sintetizadas así: a) el proyecto de naturalización, b) fenomenología y psiquiatría, c) la vía psicológica: inteligencia (...) artificial ―IA―, y d) fenomenología y psicología de la individuación; 3) A manera de colofón, muestra que la relación indisoluble entre lo empírico y lo trascendental mantiene vivo el aporte de la fenomenología a la psicología contemporánea. (shrink)

Der Übersetzer befindet sich im Spannungsfeld nicht nur zwischen den Sprachen, sondern auch zwischen den Kulturen. Die Beiträge nähern sich der Frage nach der kulturellen Dimension von Übersetzung sowohl epochen- als auch fachübergreifend an, wobei das Erkenntnisinteresse sämtliche Textsorten umfasst. Im vorliegenden Band wird die besondere Rolle der Übersetzung bei der Überschreitung kultureller Grenzen von unterschiedlichen Disziplinen aus erforscht. Neben Translationswissenschaftlern kommen auch Vertreter aus Literatur- und Sprachwissenschaft, Kunstgeschichte, Philosophie, Rhetorik und Musikwissenschaft zu Wort. Aus dem Inhalt: Vorwort der Herausgeber (...) Manfred Schmeling:Georges-Arthur Goldschmidt - Eine Würdigung Georges-Arthur Goldschmidt:Wie Grün Rot werden soll oder Die Metamorphose des Übersetzens I. Theoretisch-philosophische Fragestellungen Jörn Albrecht: Heidegger auf Französisch - die,Poststrukturalisten' auf Deutsch. Ein Fall von,verschränktem' Kulturtransfer Hervé Pasqua: Traduction et déconstruction Pierre Deshusses/Irène Kuhn: Der Übersetzer: ein Seiltänzer über dem Abgrund der Sprachen II. Historische Schwerpunkte Ursula Wienen: Jean-Jacques Rousseaus Briefe über die Botanik im Spiegel ihrer deutschen Übersetzungen. Ein Beitrag zur kulturellen Prägung der Fachübersetzung Fritz Nies: Vernetzung und Affinitäten. Deutsche Autoren in französischer Sprache, vor der Romantik Lieven D'Hulst: La culture allemande en France au début du XIXe siècle: analyse statistique des livres traduits entre 1810 et 1840 Hans-Jürgen Lüsebrink: "Lost in Translation" - Übersetzung und Exilerfahrung bei Eva Hoffman und Jacques Poulain III. Textsortenspezifisches Übersetzen Georgette Stefani-Meyer: Fonction et statut de la traduction dans le Journal des savants entre 1665 et 1714 Alberto Gil: Traduire la rhétorique. Rilke als Übersetzer des sermon L'Amour de Madeleine Jean-Claude Lejosne und Pierre Dimon: Problèmes de traduction de l'interculturalité dans l'expression du droit et la réflexion sur l'éthique: ambiguïté et désambiguïsation dans des domaines,sensibles' Michael Schreiber: Rhetorische Fragen in politischen Reden. Textsortenspezifik und Übersetzung IV. Formen medialen Transfers: Neue Medien/Intermedialität Vahram Atayan: Elektronische Übersetzungsbibliographien als translationswissenschaftliches Werkzeug: Eine exemplarische Studie anhand von thematischen Häufungen und funktionalen Elementen in den Titeln von Übersetzungen Französisch-Deutsch aus dem 16.-17. Jahrhundert Rainer Schmusch: "La vie est un voyage": Vertonter Text in Übersetzung - Lied und Oper als Kulturvermittler Herbert Schneider: Vertonter Text in Übersetzung oder Kann man Die Meistersinger von Nürnberg und Aristide Bruants A Batignolles übersetzen? Jean-Loup Korzilius: Le geste pictural et la question de l'origine dans l'oeuvre de Pierre Soulages et Karl Otto Götz Ramona Schröpf: Zur Übertragung von Kulturspezifika in der Filmuntertitelung In derselben Reihe als Band 1 bereits erschienen: Kulturelles Gedächtnis und interkulturelle Rezeption im europäischen Kontext. Herausgegeben von Eva Dewes und Sandra Duhem 2008 / XXIII, 678 S. / 113 Abb. / e 49,80 ISBN 978-3-05-004132-2. (shrink)

This study seeks to examine the impact of alumni connections between the evaluators and evaluatees on the results of peer review ratings for the Korean national R&D project and selection success rate. Specifically, this study analyzed the evaluation results of 8,402 research proposal entries submitted between 2007 and 2011 for the “general researchers support project,” all in the Natural Science and Engineering areas and sponsored by the National Research Foundation of Korea. Each proposal entry was evaluated by three evaluators, and (...) approximately 39 percent of the proposals had at least one evaluator from the same university. The results of this study showed that evaluators have a tendency to give relatively high scores to research proposals submitted by the alumni of the same universities as their alma mater. Also, when an evaluator from the same university as an evaluatee was included in the evaluator group, the results of this study showed that the percentage of entry submissions was higher compared to the contrary. Such results show that in the process of peer review–based research proposal evaluations for national R&D projects, alumni connections have significant influence on evaluation results in South Korea. (shrink)

Um aspecto poucas vezes (se é que alguma vez) referido a propósito deste livro de José Gil é o modo como sintetiza tantos aspectos da sua obra anterior. O que é tanto mais interessan­te quanto o faz recorrendo quer a noções centrais dela como a aspectos quase desconhecidos, e isto através de uma reflexão sobre mentalidades que não é muito frequente destacar-se nos seus trabalhos. Mais ainda do que «a intensidade que uma relação com este país supõe» (p. 142), que (...) José Gil refere ao terminar, e... (shrink)

En écrivant dans sa préface que «ces trente dernières années, Olivier Bloch a [...] été le maître d’œuvre de la constitution et de la reconnaissance au sein de l’histoire de la philosophie, en France comme à l’étranger, de l’histoire du matérialisme comme discipline autonome», Didier Gil souligne avec raison le rôle prépondérant joué par Olivier Bloch dans la recherche sur l’histoire du matérialisme. Matière à histoires s’en veut l’illustration même, qui réunit vingt-quatre articles d’Olivier Bloch consacrés à l’histoire du matérialisme (...) de l’Antiquité à Marx. L’avant-propos et la conclusion de l’ouvrage qui enserrent les articles retenus ne font que nous inciter à poursuivre aujourd’hui l’entreprise de réhabilitation philosophique du matérialisme tracée par Bloch. (shrink)

This commentary is a critical appraisal of Gil-Pérez et al.'s (2002) conceptualization of constructivism. It is argued that the following aspects of their presentation are problematic: (a) Although the role of controversy is recognized, the authors implicitly subscribe to a Kuhnian perspective of `normal' science; (b) Authors fail to recognize the importance of von Glasersfeld's contribution to the understanding of constructivism in science education; (c) The fact that it is not possible to implement a constructivist pedagogy without a constructivist epistemology (...) has been ignored; and (d) Failure to recognize that the metaphor of the `student as a developing scientist' facilitates teaching strategies as students are confronted with alternative/rival/conflicting ideas. Finally, we have shown that constructivism in science education is going through a process of continual critical appraisals. (shrink)

Après le succès de l’Histoire des Femmes en Occident, publiée à Buenos Aires en 1993, ces deux volumes présentent une synthèse des travaux sur l’histoire des femmes et du genre développés en Argentine au cours des années 1990. Les 25 contributions abordent des thématiques diverses, allant du XVIIe au XXe siècle, organisées en trois rubriques. La première d’entre elles, « Enfermements et sujétions », analyse la place et la situation des femmes dans divers contextes, en les rapportant systémati...

Ce travail, qui se situe dans le prolongement des idées développées par Fernando Gil dans son Traité de l’évidence, est une tentative d’analyse à l’aide des concepts introduits par F. Gil, d’un événement bien documenté de l’histoire des mathématiques, la découverte par Cantor (en 1877) de ce qu’une droite (continuum à 1 dimension) et l’espace (continuum à 3 dimensions) comportent le même nombre de points. Ayant établi la démonstration de ce résultat, Cantor écrit, étonné : “Je le vois mais je (...) ne le crois pas”. Preuve que la démonstration apodictique ne lui apparaît pas comme une indication suffisante de la “vérité” et qu’il ressent le besoin d’une forme d’engagement, d’immédiateté “où s’effacent les frontières entre le vécu et le théorique”. Preuve également que l’idée selon laquelle l’objectivité dont s’enorgueillit “la science” implique l’élimination du sujet, est une idée fausse. (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)

Voltaire historien de la philosophie. De l'Antiquité au Grand Siècle Renan Laruc, Porphyre de Tyr, héros voltairien; Marc-André Nadeau, Défense et critique de Montaigne dans les Lettres philosophiques; Véronique Le Ru, Voltaire, lecteur de Descartes; Gerhardt Stenger, Un philosophe peut en cacher un autre: Malebranche et Spinoza dans Tout en Dieu; Lorenzo Bianchi, Voltaire lecteur et critique de Bayle; Miguel Benitez, Locke, Voltaire et la matière pensante; Claire Fauvergue, Voltaire et l'idée d'automate. Voltaire et la philosophie des Lumières Debora Sicco, (...) Voltaire champion de Chastellux contre Montesquieu ; Marie Leca-Tsiomis, Voltaire, philosophe selon Diderot; Sévérine Denieul, Casanova lecteur et critique de Voltaire; Main Sandrier, Lectures athées de Voltaire: la duplicité du philosophe; Rodrigo Brandào, Job, Voltaire et Kant ou deux perspectives sur la souffrance et le mal; Linda Gil, Condorcet éditeur de Voltaire: une lecture dialogique dans les OEuvres complètes. Voltaire philosophe: histoire, morale et politique Jean Goldzink, Déisme et récits voltairiens ; Maria das Graças de Souza, Voltaire philosophe de l'histoire: autour de l'Essai sur les moeurs; Vladimir de Oliva Mota, Les fondements transcendants de la morale chez Voltaire; Maria Laura Lanzillo, La philosophie politique de Voltaire. De sa théorie de l'État à sa conception de la tolérance; Baldine Saint Girons, Voltaire et l'autocritique de la philosophie. La postérité philosophique de Voltaire Alain Sager, Voltaire à la lumière du concept d'ironie chez Kierkegaard; Guillaume Métayer, Voltaire philosophe, via Nietzsche? La préhistoire de l'épistémè; Danilo Bilate, Les "nouvelles Lumières" et l'attitude voltairienne chez Nietzsche; Abderhaman Messaoudi, Voltaire philosophe. Les enjeux d'une réévaluation."--Page 4 of cover. (shrink)

Libertarian Papers has in the past produced print archives (paper versions) of its articles. Our last volunteer, Gil Guillory, had to quit so we have a need for some volunteer assistance help assemble Vol. 1, Part 3, and two or three parts for Vol. 2. Ideally I’d like it kindle formatted and also a PDF [...].

In lieu of an abstract, here is a brief excerpt of the content:RECENT ACQUISITIONS: CORRESPONDENCE Recent Acquisitions: Correspondence 93 SHEILA TURCON The Bertrand Russell Archives McMaster University Libraty A.d •• PORTMItIRION HOTEL DEUDRAETU" CASTLE HOTEL PORTMEIRION PENINSULA : PENRHYNDEUDRAETH-·NORTHWALES -Telegrams & Telephone 39 - Passe"gers & G~ods Sialio", G,w'R. A.y Tile M)'Uoa a: M....W. Atehem. 8brewlbDry. T he last update of correspondence, completed in spring 1990 / listed a huge backlog. Since then, I have devised a new method of preparing (...) this listing for Russell As new items arrive, typed catalogue cards are still prepared and interfiled with our existing cards for researchers who can visit the Archives. At the same time, however, entries are put into the computer of the correspondence which will be reported in Russell, i.e., letters either to or from Russell. The listing can be printed out, proofread, and be ready for perusal and insertion in Russell at any time.. The Correspondence and the Manuscript listings are to become a regular feature of Russell With the help of the new methodology, readers will thus be kept informed of the arrival of most acquisitions within a reasonable amount of time. We do not report acquisitions of letters about Russell (of which there are many), photographs, drawings and canoons, audio and video cassettes, minutes of meetings, memorials or petitions on BR's behalf, and newsdippings. Readers interested in such holdings may contact the Russell Archives individually. There are 44 entries in this listing, covering approximately 167 letters and telegrams. Some of the items have been received from a total of ten other instirutions, to whom we are very grateful. The latest acquisition reponed is number 1,133, which arrived on 8 August 1991. The following abbreviations should be noted: L(s). or l(s). = letter (s); P(s). or p(s). = photocopy(ies); p.c(s). = post card(s). I Russel~ n.s. IO (1990); 30-67. The present listing is the last one to report not-sorecent acquisitions which had been overlooked. 1......- (6., (r>JI ~ ()~. ~-Jl.r~ ~-.~ f.o -t.--...f..tJ~ (i.~ S'o ~ " • •."-..A ~ ~ ~~ fP"'-.... Ca.H-. no ~C-.....:i. He.."; GIl-.... k ~... of- ~-~(y- ~·~~L ~ e:e.---..··fcL........., V'- ~'S- ~. (shrink)

This volume reflects on questions of human rights in the context of globalization. The essays responding to this subject are rich and varied: they focus on legal acceptance as well as consequences of human rights with regard to social rights and the necessary protection of the environment connected or close to those rights. Another approach to the subject featured in the volume is the legal recognition and the consideration of human rights as moral rights. With concepts on universality, a new (...) cosmopolitism, cultural pluralism and perspectives on religious variants and technological advances the debate on human rights is concluded. Index / Indice I. The Foundation of Rights / El fundamento de los derechos: J. Rubio Carracedo: El legalismo occidental: un problema para la universalizacion de los derechos humanos J. A. Seoane: El caracter juridico de las leyes injustas M. Borowski: Classifying and qualifying properties of fundamental rights J. von Platz: Faith in reason: questioning practical reason as fact, norm, end, and function of human rights R. Cruft: Policy implications of the philosophical foundations of human rights Maria Gabriela Scataglini: Derechos humanos: otra mirada sobre la cuestion de su universalidad II. A New Cosmopolitism / Un nuevo cosmopolitismo: V. de P. Barreto: Derecho cosmopolita y derechos humanos Luis Fernando Barzotto: Reconocimiento y fraternidad A. R. Bernstein: Justifying universal human rights via Rawlsian public reason H. Khatchadourian: Democracy and the globalization of human rights Milagros Otero Parga: Derechos humanos y globalizacion Halim Bepari: Human rights and the United Nations Miracy B. S. Gustin: Rescate de los derechos humanos en situaciones adversas de paises perifericos III. Multiculturism and Pluralism of Values /Multiculturalidad y pluralismo de valores: M. Herrero / M. Saralegui: Dogmatismo politico y pluralismo religioso Berry Tholen: Migration, justice, and Europe's identity. The relevance of special ties for EU's migration policy C. M. Alvarez Chicano: Implicaciones de la inconmensurabilidad de los valores en la aplicacion de principios de orden etico y juridico L. Perez Conejo: Axiologia juridica y pluralismo de valores: algunas consideraciones sobre la nocion de 'inconmensurabilidad' S-I. Liu: Fundamental legal values and globalization with regard to historical experience in freedom of speech L. C. Amezua: Libertad natural y esclavitud voluntaria: reflexiones de F. Suarez sobre la esclavitud IV. Rights and Gender / Derechos y genero: J.M. Gil Ruiz: La violencia de genero en el contexto familiar y la agresion de la ciencia juridica A. Goiriena Lekue: El interes superior del/la nino/a, coparentalidad y neutralidad de genero en la atribucion de la guarda y custodia de los hijos e hijas P. Garcia Guevara: Las politicas de genero en los paises globalizados del 'Tercer Mundo' V. Technological Impact and New Generation Rights / Impacto tecnologico y nuevas generaciones de derechos: M. Ahteensuu: Understanding the precautionary principle in the light of the traditional weak-strong distinction: a critical comment Cristina Monero Atienza: Bases para una teoria de los derechos en el siglo XXI M. Kitahara: Personal data processing and business ethics: personal data processing and personal data protection in business A. D. Oliver Lalana: El lado empirico de la legitimidad comunicativa: sobre la publicidad organizativa del derecho de proteccion de datos en internet J. Ebbesson / M. Zamboni: Transbordering democracy? The case of environment protection Sagrario Moles Nieto: El impacto medioambiental de los cultivos transgenicos VI. Bioethics and Law / Bioetica y derecho: M. Cruz Diaz de Teran: Principios para una biojuridica global C. Faralli / S. Tugnoli: Bioethics between law and science: the Italian law on medically assisted procreation (Law No. 40, February 19, 2004) N. Zeegers: The working of power in communicative regulation: the case of research with human embryos J. A. Fernandez Suarez: La bioetica en la era de la globalizacion F. J. Blazqez Ruiz: Privacidad y discriminacion genetica: propuestas bioeticas y juridicas ante los desafios de un mundo globalizado. (shrink)

The State of Emergency declaration in Japan due to the COVID-19 pandemic affected many aspects of society in the country, much like the rest of the world. One sector that felt its disruptive impact was education. As educational institutions raced to implement emergency remote teaching (ERT) to continue providing the learning needs of students, some have opened to innovative interventions. This paper describes a case of ERT where Filipino vocabulary was taught to a class of Japanese students taking Philippine Studies (...) in a Japanese university using a cognitive innovation based on virtual reality, an immersive technology often researched for immersion and presence. Students were divided into three groups to experience six lessons designed around virtual reality photo-based tours at different immersion levels. While the effect of immersion on satisfaction was not found to be statistically significant, presence and satisfaction were found to be correlated. Despite challenges that were encountered, benefits like enjoyment, increased engagement, and perceived learning were reported by the students. Our findings exemplify how emerging multisensory technologies can be used to enhance affective and cognitive dimensions of human experience while responding to gaps created by the spatial limitations of remote learning. (shrink)