In lieu of an abstract, here is a brief excerpt of the content:Ralegh and the Punic WarsCharles G. Salas“For he doth not feign, that rehearseth probabilities as bare conjectures....”Sir Walter Ralegh, The History of the WorldThe Secret HistoryIn 1603 Sir Walter Ralegh was judged guilty of treason and imprisoned in the Tower of London to await execution. The wait was a long one —execution did not take place until 1618—giving this artful courtier, warrior, poet, and poseur time to script (...) new roles for himself. The most memorable of these was historian, and the stage on which he performed was the entire world. Universal history had been a time-honored genre in England, but never had there been so remarkable a performance by a native son as Ralegh’s The History of the World (1614). In five books Ralegh offered to king and country his interpretation of events from Creation to 168 bc. Book V, last and lengthiest of the entire work, deals in large part with the struggle between Rome and Carthage. The story of that struggle is Ralegh’s most mature historical writing and the most revealing of himself, for when he gave up his plan to carry his history into modern times, the Punic Wars became the context for things about the present that he was loath to leave unsaid.Despite its length (about a million words) and premature ending, the History was an enormous success with a public eager to possess the meaning of it all. Oliver Cromwell particularly liked the way it followed “the strange windings and turnings of Providence”; 1 no doubt he found Ralegh’s emphasis upon the Providential control of events reassuring. For Ralegh claimed to show how “kings and kingdoms have flourished and fallen, and for what virtue and piety God made prosperous, and for what vice and deformity he made wretched both the one and the other.” 2 In fact what Ralegh showcased [End Page 195] were the acts of a vengeful, Old Testament God more concerned with punishing monarchical sins than with making monarchs prosperous, and the History was temporarily suppressed by James for being “too saucy in censoring princes.” 3If the king did not like what he saw in the History, the king’s critics did; and Ralegh, never a friend to Puritan or republican in his lifetime, became a hero to both as a pious author and victim of Stuart tyranny. Those sympathetic to the Stuarts, like Alexander Ross, Chaplain to Charles I, saw Ralegh rather differently; but the popularity of the man and his History could not be denied. Ross himself profited from that popularity by doing both an abridgment and a continuation of the History as well as Som Animadversions and Observations upon Sir Walter Raleigh’s Historie of the World. Wherein his mistakes are noted, and som doubtful passages cleered (1653). Many of these animadversions were directed at Ralegh’s treatment of the Punic Wars. Ross recognized that “mistakes” and “doubtful passages” there formed a pattern: “Sir Walter cannot look upon the Roman Glorie with but a squint eye”(8), he complained. But did he also recognize the reason for that squint eye, that Ralegh kept one eye on the past and the other on the present? That many of those “doubtful passages” were in fact strategic elements in a campaign (based on parallels) against Rome, against James, and against James’s ministry? Had this been obvious to Ross, he still would not have said so. Writing under Cromwell, he could no more afford to complain explicitly about abuse of James than Ralegh, writing under James, could afford to make the abuse explicit.Parallels—implicit or imagined—are part and parcel of Ralegh’s providentialism. In brief: God controls events, God does not change, events do not change. This is not to say that Ralegh believed that God’s control was transparent, that God couldn’t change, or that free will did not exist. Ralegh did not solve the great problems of theology. 4 What he is sure about is that the same sins continue to be punished just as they have always been: “So also hath God punished the same and the like sins in all after-times, and... (shrink)

O presente artigo emergiu de uma reflexão sobre os percalços que afligem e chocam os professores, sobretudo no início da carreira, entre os quais se destaca tanto nos estudos quanto nos relatos propalados pelos próprios professores, a violência manifestada dentro e fora das salas de aula. Dada essa constatação e a evidente necessidade de sua superação para além de medidas efêmeras, esta pesquisa traça dois objetivos igualmente relevantes: a) incitar a discussão da violência no momento da formação docente inicial, (...) bem como o surgimento de novos estudos acerca dessa temática no âmbito da pesquisa acadêmica; e b) transgredir a tradição de pesquisas que consistem em recomendar prescrições a serem aplicadas sobre como banir a violência escolar, desconsiderando as peculiaridades de cada contexto. Tais objetivos são provenientes da seguinte questão norteadora: quais estratégias são desenvolvidas nos cursos de licenciatura que visam à preparação do futuro professor para lidar com o fenômeno da violência na escola básica? Intentando responder a essa questão e, portanto, contemplar os objetivos delineados optou-se pela análise de material bibliográfico especializado, sistematicamente selecionado, como procedimento metodológico. Como principal resultado, verificou-se que a discussão da temática da violência escolar na formação inicial é algo ainda escasso na prática e incipiente na esfera da pesquisa. Assim sendo, enfatiza-se a importância do fortalecimento de tal discussão a fim de que, ao ingressarem na carreira docente, futuros professores sintam-se devidamente subsidiados para enfrentarem os desafios cotidianos que venham a se manifestar ao longo do exercício da profissão. (shrink)

O artigo pretende contribuir com as discussões sobre o ensino de filosofia, partilhando achados de uma pesquisa realizada com duas turmas de estudantes universitários na disciplina de Estética (Curso de Música -Licenciatura). As inovações metodológicas aplicadas nas turmas buscaram valorizar o ensino de filosofia em diálogo permanente com as vivências cotidianas e artísticas dos estudantes através de atividades em sala sistematicamente vinculadas aos temas previstos no programa da disciplina. Os resultados dos dados apontaram que as estratégias metodológicas de ensino utilizadas (...) na disciplina tiveram impacto positivo para o engajamento dos discentes, atuando desenvolvimento de sua criticidade e criatividade. (shrink)

Depuis Droit, mythe et raison (1980) écrit avec Jacques Lenoble jusqu’aux récents À quoi sert le droit? Usages, fonctions et finalités (2016) ou Le droit, objet de passions (2018), François Ost ne cesse de questionner les rapports de nos sociétés au droit et la place de celui-ci dans nos sociétés contemporaines. Avec Le droit malgré tout, il s’agit de rendre hommage à l’œuvre et à la carrière d’une figure centrale de la théorie du droit contemporaine et aussi au fondateur, avec (...) le regretté Michel van de Kerchove, de ce que l’on appelle parfois « l’école de Saint-Louis ». Abordant les deux pôles de la dialectique à laquelle François Ost est si attaché - la critique et la reconstruction -, l’ouvrage propose un regard interdisciplinaire sur le droit, à travers les principaux thèmes qui ont nourri la pensée de l’auteur. Du statut épistémologique de la science du droit à un questionnement sur les fondements et l’avenir du droit et de la justice, des liens qu’entretiennent le droit et la littérature jusqu’à l’environnement saisi par le droit en passant par les « communs », les approches de ses collègues et amis sont toutes réflexives et critiques. En ce qu’elles sont soucieuses de soumettre le droit au regard des sciences sociales et, inversement, les normativités extra-juridiques au regard du droit, elles sont fidèles à la démarche de François Ost. Ce Liber Amicorum propose aussi un retour réflexif sur son œuvre par l’auteur lui-même, dans un entretien avec Manuel Atienza. Contributeurs : Yves CARTUYVELS, Robert JACOB, Mark VAN HOECKE, Jacques COMMAILLE, Isabelle HACHEZ, Laurent VAN EYNDE, Jacques LENOBLE, Benoit FRYDMAN, Alain PAPAUX, Guillaume DE STEXHE, Diane BERNARD, Antoine GARAPON, Jacques CHEVALLIER, Alain SUPIOT, Paul MARTENS, Jérémie VAN MEERBEECK, Sébastien VAN DROOGHENBROECK, Nicolas BERNARD et Françoise TULKENS, Pierre LEGRAND, Annette RUELLE, Isabelle OST, Jeanne GAAKEER, Massimo VOGLIOTTI, Denis SALAS, Pauline BÉGASSE DE DHAEM et Marie-Sophie DE CLIPPELE, Xavier DELGRANGE, Delphine MISONNE, Benoît JADOT, Alain STROWEL, Hugues DUMONT, Jean-Guy BELLEY, Antoine BAILLEU. (shrink)

Atualmente não se pode negar a influência que a ciência tem sobre a sociedade. Com efeito, não podemos esquecer que esta mesma ciência se isolou das reflexões sobre o ser humano, sobre os valores éticos e mesmo sobre seus próprios fins. Portanto, ao falar em ciências e seu uso no processo ensinoaprendizagem nos remete ao pensamento da teoria clássica: onde todos os estudantes e, inclusive o professor, sairão satisfeitos. Ao contrário, o que se verifica atualmente é o oposto. Alunos desmotivados (...) e professores insatisfeitos. Como isto pode acontecer se temos cada vez mais acesso aos recursos tecnológicos? As novas tecnologias presentes nas escolas não têm facilitado esse processo? Como as teorias cientificas podem ser usadas em sala de aula e como podem favorecer a construção do conhecimento no educando são questões que remetem à preocupação do autor em contribuir com uma tendência no ensino de ciências na Amazônia que vá em direção de uma educação em ciências que rompa com os estreitos limites da ciência atual.Currently there is no denying the influence that science has on society. Indeed, we can not forget that this same science has isolated itself from the reflections on human beings, on ethical values and even about their own ends. Therefore, when speaking on science and its use in teaching-learning process brings us to the thought of the classical theory: where all students and even teachers, they will leave satisfied. Instead, what we see today is the opposite. Unmotivated teachers and students dissatisfied. How can this happen if we have more access to technological resources? New technologies present in the schools do not have facilitated this process? As scientific theories can be used in the classroom and how they can encourage the construction of knowledge in the student are issues that relate to the concern of the author in contributing to a trend in science education in the Amazon that goes toward a science education that break with the narrow limits of current science. (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)

Desde la época de las grandes migraciones ultramarinas, hace algo más de un siglo, los estudiosos de las migraciones han elaborado marcos de interpretación de este fenómeno social. La inmigración ha emergido recientemente en las sociedades occidentales como un tema de interés político. Así, la incorporación de los estudios migratorios desde la perspectiva de las disciplinas dedicadas al análisis del gobierno y la política es una de las novedades más interesantes en el reciente panorama teórico de las migraciones. El objetivo (...) de este artículo es detenerse en algunos de los más significativos efectos de la inmigración en la esfera política de las sociedades de acogida a partir de una premisa de partida: las migraciones internacionales han difuminado tres tipos de “fronteras” políticas profundamente interrelacionadas en las sociedades modernas. En primer lugar, los límites físicos, territoriales del Estado; en segundo lugar, el perímetro de la ciudadanía y de la pertenencia definida por la asignación de derechos de naturaleza liberal y, en tercer lugar, el contorno de las comunidades nacionales en términos de identificación o afiliación cultural. (shrink)

Hegel’s many remarks that seem to imply that philosophy should proceed completely a priori pose a problem for his philosophy of nature since, on this reading, Hegel offers an a priori derivation of...

Desde una hermenéutica discursiva y práxica, este artículo profundiza y madura teóricamente unas breves reflexiones epistémicas e históricas acerca de la problemática de la identidad plural en el pensamiento latinoamericano de estas últimas décadas. En un marco dominado por el giro “post” que caracterizan las ciencias sociales, se prosigue una línea de investigación que recupera importantes categorías y distinciones -brotadas en teorías de pensadores latinoamericanos-, para demostrar la ambigüedad socio-política del actual giro plural e intercultural de la identidad. Criticando debilidades (...) de ideas de algunos autores, se reconstruye una tensión entre contextualidad y universalidad que presupone topoi o lugares intra-latinoamericanos de enunciación, que van más allá de los tópicos diluidos de un cierto pensar postmodernista ligado mucho más a los contextos europeos y norteamericanos. A partir de ahí se descubren unos tópicos principales para renovar una interpretación intercultural del carácter propiamente latinoamericano de la identidad cultural. (shrink)

The colonization and domination of America led to «reification», that is, reifying the term «indian». This raises a current and also exemplary challenge, to other parts of the world, given the contemporary ethnic plurality: overcoming this unjust reification through understanding beyond mere knowledge. To put it in modern terms: the acknowledgement of the fusion of significant horizons, accomplished in three moments: 1) the awareness of the offensive practice towards «the Indians» in the Colonial and post-colonial era; 2) the interpretation of (...) the foreign from the self and its appropriation; and 3) the outcome of cultural plurality. (shrink)

Fr. Sala attempts in this article to provide readers and students of Lonergan with a clear, precise, and condensed presentation of his conception of method in theology in today’s context. He does this by sketching the most important stages in the evolution of Lonergan’s thought. The core of this presentation is the analysis of the “human subject in its subjectivity.” Lonergan deals primarily not with the content of theological science but with the operations theologians perform in constructing theology. He endeavors (...) to clarify this subjectivity in all its dimensions. Having given us an analysis of Lonergan’s Verbum articles, Sala goes on to present Lonergan’s Insight under three headings: knowledge, objectivity, and reality. This done, he proceeds to summarize Method in Theology under these headings: the religious dimension of the subject, the structure of theological method, the specific theological principle of a method in theology, and the authentic subject as the foundation for theological reflection.The article is a masterly presentation of a vast area of research and a good introduction to Lonergan’s works.This article appeared in Theologie und Philosophie 63 (1988) 34-59 and was titled: “B. Lonergans Methode der Theologie: Ein Theologe hinterfugt seinen eigenen Verstand.” Von Giovanni B. Sala, S.J. (shrink)

In the paper we obtain a new characterization of the BCK-algebras which are subdirect product of BCK-chains. We give an axiomatic algebraizable extension of the BCK-calculus, by means of a recursively enumerable set of axioms, such that its equivalent algebraic semantics is definitionally equivalent to the quasivariety of BCK-algebras generated by the BCK-chains. We propose the concept of "linearization of a system" and we give some examples.

La nota versificada que figura al final del libro VII, fol. 333r, de al-Qānūn al-Muqaddas, “el Santo Canon”, es de gran importancia para poder saber a qué obispo perteneció el códice y la época en la que fue traducido el texto del latín al árabe. En este artículo ofrecemos una serie de valoraciones y argumentaciones sobre estos dos aspectos: qué obispo fue el poseedor del texto y cuándo pudo ser hecha la traducción del original latino. Añádese una postrera alusión sobre (...) su posible traductor. (shrink)

Among the main assumptions of the well-known principle-based method in bioethics, the ideal of consensus assumes central importance. Indeed, by proposing this method, Beauchamp and Childress offer a base for a practical agreement that can be reached starting from different moral perspectives: they defend the universality of the principles shared by the common-morality theories. The ideal of consensus based on the universal acceptability of the principles is criticized by a large number of authors, communitarians and feminists. They attack the notion (...) of universality in different ways: universal principles cannot yield any practical solution to ethical problems. The feminists in particular emphasize the relational, emotional involvement, and also the particular context ofeach situation, as central elements of any practical decision, rather than the cold detachment of the conformity to principles and norms. The case of abortion provides a good example of this position. (shrink)

This essay considers Edith Stein’s account of “essential being” and finds therein a point of continuity with medieval metaphysics. Scholarly attention has already been given to this feature of Stein’s metaphysics; it has been argued that “essential being,” while serving as a crucial point of distinction between Stein andThomas Aquinas’s own metaphysics, functions as a point of similarity between Stein and Duns Scotus. However, I argue that, while there are certainly manypoints of congruence between Stein and Scotus on the topic (...) of essential being, the position that Stein advances comes much closer to Henry of Ghent’s doctrineof esse essentiae. Finally, I show that the consequence of her adopting a position so similar to Henry of Ghent is that it opens Stein to a number of criticisms raised by Scotus himself against esse essentiae. (shrink)

We distinguish dynamical and statistical interpretations of evolutionary theory. We argue that only the statistical interpretation preserves the presumed relation between natural selection and drift. On these grounds we claim that the dynamical conception of evolutionary theory as a theory of forces is mistaken. Selection and drift are not forces. Nor do selection and drift explanations appeal to the (sub-population-level) causes of population level change. Instead they explain by appeal to the statistical structure of populations. We briefly discuss the implications (...) of the statistical interpretation of selection for various debates within the philosophy of biologythe `explananda of selection' debate and the `units of selection' debate. (shrink)

Over the past fifteen years there has been a considerable amount of debate concerning what theoretical population dynamic models tell us about the nature of natural selection and drift. On the causal interpretation, these models describe the causes of population change. On the statistical interpretation, the models of population dynamics models specify statistical parameters that explain, predict, and quantify changes in population structure, without identifying the causes of those changes. Selection and drift are part of a statistical description of population (...) change; they are not discrete, apportionable causes. Our objective here is to provide a definitive statement of the statistical position, so as to allay some confusions in the current literature. We outline four commitments that are central to statisticalism. They are: 1. Natural Selection is a higher order effect; 2. Trait fitness is primitive; 3. Modern Synthesis (MS)-models are substrate neutral; 4. MS-selection and drift are model-relative. (shrink)

El siguiente texto intenta exponer algunas de las ideas básicas de la tercera de las tres partes que componen Meditaciones del Quijote: la “Meditación primera. Breve tratado de la novela”. En las no muchas páginas que ocupa el texto de Ortega, se ofrece una visión sobre el inmortal libro de Cervantes que no puede dejar indiferentes a los filósofos.

En el presente artículo analizamos el motivo de «los reyes de Etiopía y Nubia» en una de las familias textuales del Apocalipsis árabe del Pseudo Atanasio. El propósito de este trabajo es demostrar, mediante el análisis de los elementos que conforman el motivo, cómo los autores de obras apocalípticas trabajaron sobre la base de un material en buena medida estandarizado, al que denominamos testimonia, del que se sirvió cada autor en función de circunstancias varias. Esta labor plasmada en los textos (...) apocalípticos fue generada y desarrollada en el seno de una tradición textual y literaria en la que el recurso a la intertextualidad actuó como un mecanismo estructural determinante en la configuración, modelización y pervivencia de este género literario con el paso de los siglos entre las varias comunidades cristianas orientales. (shrink)

Study on the philosophy of Vijñānabhikshu, 16th cent.

The Modern Synthesis has dominated biology for 80 years. It was formulated in 1942, a decade before the major achievements of molecular biology, including the Double Helix and the Central Dogma. When first formulated in the 1950s these discoveries and concepts seemed initially to completely justify the central genetic assumptions of the Modern Synthesis. The Double Helix provided the basis for highly accurate DNA replication, while the Central Dogma was viewed as supporting the Weismann Barrier, so excluding the inheritance of (...) acquired characteristics. This article examines the language of the Modern Synthesis and reveals that it is based on four important misinterpretations of what molecular biology had shown, so forming the basis of the four Illusions: 1. Natural Selection; 2. The Weismann Barrier; 3. The Rejection of Darwin’s Gemmules; 4. The Central Dogma. A multi-level organisation view of biology avoids these illusions through the principle of biological relativity. Molecular biology does not therefore confirm the assumptions of the Modern Synthesis. (shrink)

In paradigm exercises of agency, individuals guide their activities toward some goal. A central challenge for action theory is to explain how individuals guide. This challenge is an instance of the more general problem of how to accommodate individuals and their actions in the natural world, as explained by natural science. Two dominant traditions–primitivism and the causal theory–fail to address the challenge in a satisfying way. Causal theorists appeal to causation by an intention, through a feedback mechanism, in explaining guidance. (...) Primitivists postulate primitive agential capacities in their explanations. The latter neglect to explain how primitive capacities integrate with findings from natural science. The former do not explain why some feedback mechanism’s activity amounts to the agent’s guidance. In this paper I argue that both traditions should acknowledge a capacity to guide, as actually constituted by the executive system. I argue that appeals to this empirically discovered psychological system explain how individuals guide in a way that integrates with explanations from cognitive science. Individuals’ capacity to guide is embedded in the natural world through the activity of its constituent (mechanistic) components. (shrink)

There are two competing interpretations of the modern synthesis theory of evolution: the dynamical (also know as ‘traditional’) and the statistical. The dynamical interpretation maintains that explanations offered under the auspices of the modern synthesis theory articulate the causes of evolution. It interprets selection and drift as causes of population change. The statistical interpretation holds that modern synthesis explanations merely cite the statistical structure of populations. This paper offers a defense of statisticalism. It argues that a change in trait frequencies (...) in a population can be attributed only to selection or drift against the background of a particular statistical description of the population. The traditionalist supposition that selection and drift are description‐independent causes of population change leads the dynamical interpretation into a dilemma: it must face a contradiction or accept the loss of explanatory power. (shrink)

The need to create art is found in every human society, manifest in many different ways across many different cultures. Is this universal need rooted in our evolutionary past? The Art Instinct reveals that it is, combining evolutionary psychology with aesthetics to shed new light on fascinating questions about the nature of art.

Is an appropriate causal connection to the past experience it represents a necessary condition for a mental state to qualify as an episodic memory? For some years this issue has been the subject of an intense debate between the causalist theory of episodic memory (CTM) and the simulationist theory of episodic memory (STM). This paper aims at exploring the prospects for an embodied approach to episodic memory and assessing the potential case for causalism that could be founded on it. In (...) a critical section, it argues that the empirical data to which STM appeals are both incomplete and inconclusive, and on closer examination even provide support for a proceduralist version of CTM. In a constructive section, it elaborates on the notion of a necessary causal connection in terms of particular procedural patterns acquired at encoding and operative at retrieval, grounding this move on recent empirical data about eye movements in mnemonic mental imagery. (shrink)

Tall tales presents a sweeping survey of common myths about the mind and brain. In a lighthearted and accessible style, it exposes the truth behind these beliefs, how they are perpetuated, why people believe them, and why they might even exist in the first place.

For God's knowledge in all cultures have, therefore, humans are supposed to be easily understood. However, to find out the exact number of steps, so that we can from this world to make the conclusion that God exists, but why is still very difficult. This paper attempts to point out why the case. Reason to silt, to analyze all human beings are familiar with the cognitive activities of the universality of the difficulties faced, if, to analyze the experience we can (...) get the reality is very difficult, then to analyze our experience outside the awareness of God does it mean even more difficult. Therefore, in this paper should first study our knowledge of the world. The results are as follows: human cognition is for action of a different cognitive structure; each object has its own cognitive activity, and in accordance with certain specifications; and these norms are in our cognitive effort within. All these cognitive operations are located in three levels: 1) experiences, but the object of our knowledge there is "information." 2) As has been seen all the information we obtain one kind of intellectual . Then we have the knowledge to the intellectual to express a concept, and use this concept to think about this object. 3) by judge is correct), we have absolute certainty and understanding provided by the object, to our knowledge there are objects of this object. To our understanding of the world a reality, but reality does not explain why this would exist. For the "existence" of the issues raised by the end lead to the existence of an absolutely transcendent entity of the cognitive, physical such as an infinite intellectual ability to explain his own existence and the existence of the world . Der Artikel versucht zu zeigen, warum, obwohl die Gotteserkenntnis sich in allen Kulturen findet und deshalb fur den Menschen eher naheliegend sein muβ, es dennoch schwierig ist, die Schritte genau zu ermitteln, die uns erlauben, von der Welt her auf die Existenz Gottes zu schlieβen. Der Grund liegt in der allgemeinen Schwierigkeit, die allen, Menschen vertraute Erkenntnistätigkeit zu analysieren. Wenn es schon schwierig ist, unsere Erkenntnis der erfahrbaren Wirklichkeit zu analysieren, urn so mehr ist dies der Fall, wenn es um die Erkenntnis eines höchsten Wesens jenseits unserer Erfahrung geht. Im Artikel wird deshalb zuerst unsere Erkenntnis der Welt untersucht. Das Resultat ist folgendes: Die menschliche Erkenntnis besteht in einer Struktur verschiedener Erkenntnisakte, deren jeder ein eigenes Objekt hat und gemäβ Normen stattfindet, die unserem Erkenntnisstreben innewohnen. Diese Akte verteilen sich auf drei Ebenen. 1) In der Erfahrung erkennen wir ein Objekt als bloβ gegeben, als "Datum". 2) Mit der Einsicht erfassen wir in den Daten ein Intelligibles. Infolgedessen driicken wir das erkannte Intellibible in einem Begriff aus, mit dem wir das Objekt denken. 3) Mit dem Urteil bejahen wir absolut das gegebene und verstandene Objekt und damit erkennen wir es als ein Seiendes. Damit haben wir eine Wirklichkeit der Welt erkannt, aber nieht erklart, warum sie existiert. Die Frage nach der Existenz fuhrt schlieβlich zur Erkenntnis eines absolut transzendenten Wesens, das als ein unbegrenztes Intelligibles imstande ist, die eigene Existenz sowie die Existenz der Welt zu erklären. (shrink)

Previous evidence has shown that excessive valuing happiness may relate to lower psychological wellbeing across cultures. Considering the lack of data with Spanish population, we examined the relation between tightly holding happiness emotion goals and subjective wellbeing in a sample of Spanish women, and explored the mediation role exerted by psychological inflexibility components in the relation between valuing happiness and subjective wellbeing. A female adult sample filled out measures of excessive valuing happiness, psychological inflexibility, positive affect, negative affect, and life (...) satisfaction. Valuing happiness only showed positive total effects on negative affect and strong direct effects on both cognitive fusion and experiential avoidance. Analyses revealed the mediating roles exerted by psychological inflexibility components, with experiential avoidance leading to lower pleasure; and cognitive fusion leading to greater displeasure and lower life satisfaction. Psychological inflexibility components explained between 40 and 80% of the total effect of valuing happiness on our outcome variables. Our findings highlight the need for further research on the benefits of hedonic vs. values-based approaches to happiness. (shrink)

According to Aristotelian essentialism, the nature of an organism is constituted of a particular goal-directed disposition to produce an organism typical of its kind. This paper argues—against the prevailing orthodoxy—that essentialism of this sort is indispensable to evolutionary biology. The most powerful anti-essentialist arguments purport to show that the natures of organisms play no explanatory role in modern synthesis biology. I argue that recent evolutionary developmental biology provides compelling evidence to the contrary. Developmental biology shows that one must appeal to (...) the capacities of organisms to explain what makes adaptive evolution adaptive. Moreover, the specific capacities in question are precisely those that, according to Aristotle, constitute the nature of an organism. Essentialism 1.1 Aristotelian biological kinds Evolutionary anti-essentialism 2.1 Taxonomic anti-essentialism 2.2 Explanatory anti-essentialism Adaptation 3.1 Stability 3.2 Mutability 3.3 Phenotypic plasticity and adaptive evolution The natures of organisms Conclusion. (shrink)

There has recently been much interest in the role of attention in controlling action. The role has been mischaracterized as an element in necessary and sufficient conditions on agential control. In this paper I attempt a new characterization of the role. I argue that we need to understand attentional control in order to fully understand agential control. To fully understand agential control we must understand paradigm exercises of agential control. Three important accounts of agential control—intentional, reflective, and goal-represented control—do not (...) fully explain such exercises. I argue that understanding them requires understanding how deployments of visual attention implement flexible occurrent control, or a capacity to flexibly adjust the degree of control that individuals exercise over their actions. While such deployments of attention are neither necessary nor sufficient for exercising agential control, they constitute an attentional skill for controlling action, understanding which is central to fully understanding agential control. We can appreciate its centrality if we appreciate that this attentional skill for controlling action is plausibly crucial to acting non-negligently. (shrink)