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)

The problems which troubled people's minds during the Italian Renaissance were much the same as today. In trying to cope with them, many deep thinking people turned to Marsilio Ficino for help. Through his letters he advised, encouraged, and occasionally reproved them. Fearlessly he expressed the truth and his wisdom influenced many of the finest Western minds. He numbered statesmen, popes, artists, scientists, and philosophers amongst his circle.

The problems that taxed the minds of people during the Renaissance were much the same as those confronting us today. In their perplexity many deep-thinking people sought the advice of Marsilio Ficino, the leader of the Platonic Academy in Florence, and through his letters he advised them, encouraged them, and sometimes reproved them. Ficino was utterly fearless in expressing what he knew to be true. His letters cover the widest range of topics, mixing philosophy and humor, compassion and advice, (...) and offering a profound glimpse into the soul of the Renaissance. This is the only accessible collection of Ficino's writings available in English. (shrink)

When interacting with other people, we assume that they have their reasons for what they do and believe, and experience recognizable feelings and emotions. When people act from weakness of will or are otherwise irrational, what they do can still be comprehensible to us, since we know what it is like to fall for temptation and act against one’s better judgment. Still, when someone’s experiences, feelings and way of thinking is vastly different from our own, understanding them becomes increasingly difficult. (...) Delusions and psychosis are often seen as marking the end of intelligibility. In this paper, I argue first for the importance of seeing other people as intelligible as long as this is at all possible. Second, I argue, based on both previous literature and my own lived experience, that more psychotic phenomena than previously thought can be rendered at least somewhat intelligible. Besides bizarre experiences like illusions, hallucinations and intense feelings of significance, I also explain what it is like to lose one’s bedrock, and how this loss impacts which beliefs one has reason to reject. Finally, I give an inside account of some disturbances of reason, and show that there are important similarities between certain psychotic reasoning problems and common non-pathological phenomena. (shrink)

v. 1. Books I-IV. -- v. 2. Books V-VIII -- v. 3. Books IX-XI -- v. 4. Books XII-XIV -- v. 5. Books XV-XVI -- v. 6. Books XVII-XVIII.

Is our logical form of thought merely one among many, or must it be the form of thought as such? From Kant to Wittgenstein, philosophers have wrestled with variants of this question. This volume brings together nine distinguished thinkers on the subject, including James Conant, author of the seminal paper "The Search for Logically Alien Thought.".

Feasting on a plethora of social media platforms, news aggregators, and online marketplaces, recommender systems (RSs) are spreading pervasively throughout our daily online activities. Over the years, a host of ethical issues have been associated with the diffusion of RSs and the tracking and monitoring of users’ data. Here, we focus on the impact RSs may have on personal autonomy as the most elusive among the often-cited sources of grievance and public outcry. On the grounds of a philosophically nuanced notion (...) of autonomy, we illustrate three specific reasons why RSs may limit or compromise it: the threat of manipulation and deception associated with RSs; the RSs’ power to reshape users’ personal identity; the impact of RSs on knowledge and critical thinking. In our view, however, notwithstanding these legitimate concerns, RSs may effectively help users to navigate an otherwise overwhelming landscape. Our perspective, therefore, is not to be intended as a bulwark to protect the _status quo_ but as an invitation to carefully weigh these aspects in the design of ethically oriented RSs. (shrink)

Praise, unlike blame, is generally considered well intended and beneficial, and therefore in less need of scrutiny. In line with recent developments, we argue that praise merits more thorough philosophical analysis. We show that, just like blame, praise can be problematic by expressing a failure to respect a person’s equal value or worth as a person. Such patronizing praise, however, is often more insidious, because praise tends to be regarded as well intended and beneficial, which renders it harder to recognize (...) and object to. Among other things, a philosophical analysis of patronizing praise helps people on the receiving end articulate why they feel uncomfortable or offended by it, shows patronizing praisers how their praise is problematic, and provides input for further philosophical analysis of blame.In the first section of the paper, we discuss how hypocritical praise, just like hypocritical blame, can fail to respect the equality of persons by expressing that the praiser applies more demanding moral standards to the praisee than to themself. We further discuss obstructionist praise, which loosely corresponds to complicit blame, and can similarly express that certain moral standards apply to others but not to the praiser. In the second part of the paper, we discuss another variety of patronizing praise. Praise can be an inaccurate appraisal of a person based on irrelevant considerations – like race, gender, or class – and thereby constitute a failure to recognize their equal worth as a person. We identify three ways in which such praise can manifest. (shrink)

In political theory it goes without saying that the constitution of government raises a claim for legitimacy. With the constitution of the people, however, it is different. It is often dismissed as a historical question. The conviction is that since the people cannot decide on its own composition the boundaries of democracy must be determined by other factors, such as the contingent forces of history. This article critically assesses this view. It argues that like the constitution of government, the constitution (...) of the people raises a claim for legitimacy. The failure to see this is what makes many theorists run into the arms of history. They submit the legitimacy of the people to the arbitrary and asymmetrical forces of the present. (shrink)

Wouter Kusters argues that madness has much to offer philosophy, as does philosophy to madness. In this paper, i support both claims by drawing on a mad phenomenon which I label Radical Psychotic Doubt, or RPD. First, although skepticism is a minority position in epistemology, it has been claimed that anti-skeptical arguments remain unsatisfying. I argue that this complaint can be clarified and strengthened by showing that anti-skeptical arguments are irrelevant to RPD sufferers. Second, there's a debate about whether so-called (...) hinge commitments are beliefs or not. I argue that RPD can be used to strengthen the case that they are. Moreover, if hinges are beliefs, some madpeople are more epistemically rational than some sane philosophers. Third, drawing on my own mad experiences, I challenge evidentialism by presenting a better candidate for a truly forced cchoice about what to believe than William James' traditional religious example. I further show that in certain psychiatric contexts, evidentialism has more radical implications than Jamesian pragmatism, which comes out as more conservative. Finally, I discuss how philosophical theories like pragmatism and Pyrrhonism can provide inspiration for new and much-needed coping strategies for RPD sufferers. (shrink)

How should we adjust our beliefs in light of the testimony of those who are in a better epistemic position than ourselves, such as experts and other epistemic superiors? In this paper, I develop and defend a deference model of epistemic authority. The paper attempts to resolve the debate between the preemption view and the total evidence view of epistemic authority by taking an accuracy-first approach to the issue of how we should respond to authoritative and expert testimony. I argue (...) that when we look at the debate through the lens of accuracy, it becomes clear that matters are more complicated than either the preemption view or the total evidence view are able to account for. Consequently, a deference model, outlined within a credence-based framework, does a better job of capturing the relevant phenomena, and explaining how we should update our beliefs in response to epistemically authoritative testimony. (shrink)

This article presents the development, validation and application of an instrument to measure everyday moral distress in different health care settings. The concept of moral distress has been discussed and developed over 20 years. A few instruments have been developed to measure it, predominantly in nursing. The instrument presented here consists of two factors: level of moral distress, and tolerance/openness towards moral dilemmas. It was tested in four medical departments and three pharmacies, where 259 staff members completed a questionnaire. The (...) two factors were found to be reliable. Differences in levels of moral distress were found between pharmacies and clinical departments, and between the youngest and oldest age groups; departmental staff and the youngest group experienced higher levels of moral distress. Departments reported less tolerance/openness towards moral dilemmas than pharmacies. The instrument needs to be tested further, but its strengths are the focus on everyday ethical dilemmas and its usefulness in different health care settings. (shrink)

Psychiatric patients sometimes ask where to draw the line between who they are – their selves – and their mental illness. This problem is referred to as the self-illness ambiguity in the literature; it has been argued that solving said ambiguity is a crucial part of psychiatric treatment. I distinguish a Realist Solution from a Constructivist one. The former requires finding a supposedly pre-existing border, in the psychiatric patient’s mental life, between that which belongs to the self and that which (...) belongs to the mental illness. I argue that no such border exists, and that attempts to find it might even render the felt ambiguity worse. Instead, any solution must be constructivist; the patient (and others) should deliberate and discuss what to identify with or not. I further argue that psychiatric patients need not see their mental illness as wholly distinct from themselves to avoid ‘identifying with their diagnoses' in a problematic way. Finally, we can excuse problematic behaviour by mentally ill people – in fact, we can do so in a more nuanced and constructive way – while rejecting the view that the mental illness is wholly distinct from the patient’s self. (shrink)

Nos proponemos estudiar las objeciones de Cavendish hacia la filosofía experimental desde una perspectiva no dicotómica para mostrar que, lejos de establecer un enfrentamiento entre la filosofía contemplativa y la experimental, la razón y la sensación, o la naturaleza y el arte, la autora plantea una cooperación organizada entre estos aspectos. La postura de Cavendish puede comprenderse adecuadamente si se tiene en cuenta que su epistemología se arraiga en su metafísica, en la que los grados de la materia y los (...) distintos seres vivos que conforman el universo ocupan un lugar determinado y cumplen cierta función conformando una totalidad orgánica y armónica. (shrink)

What is love? Why do we idealize those whom we love? How do we choose whom to love? Are some kinds of love better than others? Each age returns to these questions with renewed perplexity. Gerasimos Santas examinees the two greatest theoretical architectures of love, side by side. It provides a thorough critical description and comparison of these theories, allowing a sophisticated dialogue to emerge between the two thinkers. In the first half of the book Professor Santas reconstructs and explains (...) Plato's theories of eros and philia: erotic love, familial love and friendship. He attempt to show that Plato's was a unified theory in which erotic love has a special connecion with creativity and beauty. He then discusses Freud's notion of love as distinct from, though based on, his general theory of sexuality. He discusses in detail Freud's explanations, before and after narcissism, of idealization and choice of beloved. Freud too, it emerges, had a unified theory of love: all love has its origins in the libidinal instincts of infancy and childhood. The book concludes by showing that, despite Freud's claim that his theory of love is 'Platonic', the two theories are instructively different. (shrink)

A short autobiographical piece on madness and philosophy that I wrote for the Schizophrenia Bulletin's First Person Account section.

Increased work complexity and financial strain in the health care sector have led to higher demands on staff to handle ethical issues. These demands can elicit stress reactions, that is, moral distress. One way to support professionals in handling ethical dilemmas is education and training in ethics. This article reports on a controlled prospective study evaluating a structured education and training program in ethics concerning its effects on moral distress. The results show that the participants were positive about the training (...) program. Moral distress did not change significantly. This could be interpreted as competence development, with no effects on moral distress. Alternatively, the result could be attributed to shortcomings of the training program, or that it was too short, or it could be due to the evaluation instrument used. Organizational factors such as management involvement are also crucial. There is a need to design and evaluate ethics competence programs concerning their efficacy. (shrink)

Philosophers traditionally distinguish between excuses and exemptions. We can excuse someone and still see them as a participant in normal human relationships, but when we exempt someone, we see them as something to be managed and handled: we take an objective attitude to them. Madness is typically assumed to ground exemptions, not excuses. So far, the standard philosophical picture. Seeing other people as objects to be managed and handled rather than as persons with whom one can have relationships is, however, (...) ethically problematic. If I am mad myself, consistently seeing myself this way becomes downright unsustainable. A better option, I will argue, is to fully appreciate my own difficulties and learn to show myself compassion and understanding. I, then, can excuse myself on those grounds. Furthermore, a compassionate self-excusing attitude leaves room for both nuance and improvement in a way that total exemption does not. Finally, I will argue that many mad actions ought to be considered justifiable and justified rather than in need of exemption or excuse. (shrink)

This book is available either individually, or as part of the specially-priced Arguments of the Philosphers Collection.

It has been argued that we cannot be morally responsible in the sense required to deserve blame or punishment if the world is deterministic, but still morally responsible in the sense of being apt targets for moral criticism. Desert-entailing moral responsibility is supposed to be more freedom-demanding than other kinds of responsibility, since it justifies subjecting people to blame and punishments, is nonconsequentialist, and has been shown by thought experiments to be incompatible with determinism. In this paper, I will show (...) that all these arguments can be resisted. (shrink)

In a special issue of “Ethics and Information Technology” (September 2012), various philosophers have discussed the notion of online friendship. The preferred framework of analysis was Aristotle’s theory of friendship: it was argued that online friendships face many obstacles that hinder them from ever reaching the highest form of Aristotelian friendship. In this article I aim to offer a different perspective by critically analyzing the arguments these philosophers use against online friendship. I begin by isolating the most common arguments these (...) philosophers use against online friendship and proceed to debunk them one by one by pointing out inconsistencies and fallacies in their arguments and, where needed, offering empirical findings from media and communication studies that offer a more nuanced view on online friendships. I conclude my analysis by questioning the correctness of the application of the Aristotelian theory of friendship by the critics of online friendship: in my view, the critics are applying the Aristotelian theory to online friendships in a rather narrow and limited way. Finally, I conclude my thesis by proposing that in the rapidly changing online landscape, a one-size-fits-all application of the Aristotelian theory on friendship is not sufficient to accurately judge the multitude of relationships that can exist online and that the various positive and valuable elements of online friendships should also be acknowledged and analyzed. (shrink)

In this commentary, as philosophers of evolutionary biology, we will consider the evolutionary framework used in the Target Article by: (i) emphasising the fruitfulness of the interdisciplinary approach employed; (ii) highlighting some potentially controversial aspects of the proposal; and finally (iii) outlining some ideas for further integration within the UAL framework. The critical analysis will focus on the relationship between learning and consciousness, on the assumed need for a function for consciousness, and on the type of phylogenetic demarcation introduced by (...) UAL. (shrink)

Following the COVID-19 pandemic, many countries worldwide have put lockdowns in place to prevent the virus from spreading. Evidence shows that lockdown measures can affect mental health; it is, therefore, important to identify the psychological characteristics making individuals more vulnerable. The present study aimed, first, to identify, through a cluster analysis, the psychological attributes that characterize individuals with similar psychological responses to the COVID-19 home confinement; second, to investigate whether different psychological characteristics, such as personality traits, alexithymia, and resilience, specifically (...) influence anxiety, stress, and depression, depending on the scope of the confinement. We analyzed data from 393 participants who completed an online survey on their experiences during two different phases of the Italian lockdown, characterized by more or less strict measures of confinement. Two clusters were identified which included participants reporting a better (+ER) and worse (−ER) emotional response to the lockdown, respectively. Individuals in the −ER group showed lower emotional stability, resilience, and higher alexithymia. Moreover, even if lifting part of the restrictions decreased psychological distress among all participants, a reduction in perceived stress was observed only among individuals with high resilience. Finally, personality traits, alexithymia, and resilience differently affected depression, anxiety, and stress. Our results suggest that different psychological interventions should be planned depending on the context: mental health professionals should focus on enhancing the individuals’ coping strategies to alleviate stress in emergencies, while long-term intervention aiming at alleviating anxiety and depressive symptoms should focus on alexithymic tendencies and personality constructs. (shrink)

Proof requires a dialogue between agents to clarify obscure inference steps, fill gaps, or reveal implicit assumptions in a purported proof. Hence, argumentation is an integral component of the discovery process for mathematical proofs. This work presents how argumentation theories can be applied to describe specific informal features in the development of proof-events. The concept of proof-event was coined by Goguen who described mathematical proof as a public social event that takes place in space and time. This new meta-methodological concept (...) is designed to cover not only “traditional” formal proofs but all kinds of proofs and inference steps, including incomplete or purported proofs. Our approach attempts to make proof-events more comprehensive to express the complete trajectory of a mathematical proof-event until the ultimate validation of the proving outcome. Thus, we advance an extended version of proof-event calculus which is built on argumentation theories designed to capture the internal and external structure of collaborative mathematical practice and highlight the relationship between proof, human reasoning, and cognitive processes. In addition, another area in which argumentation can make a significant contribution is dealing with the defeasible knowledge of the Web which is a product of its open and ubiquitous nature. This approach seems to be sufficient for the presentation of Web-based proving processes as manifested in the case of the Mini-Polymath 4 project. (shrink)

In this paper, I will argue for two interrelated theses. First, if we take phenomenological psychopathology seriously, and want to understand what it is like to undergo various psychopathological experiences, we cannot treat madpeople’s testimony as mere data for sane clinicians, philosophers, and other scholars to analyze and interpret. Madpeople must be involved with analysis an interpretation too. Second, sane clinicians and scholars must open their minds to the possibility that there may be experiences that other people have, which they (...) nevertheless cannot conceive of. I look at influential texts in which philosophers attempt to analyze and understand depersonalization and thought insertion. They go astray because they keep using their own powers of conceivability as a guide to what is or is not humanly possible to experience. Several experiences labeled inconceivable and therefore impossible by these philosophers, are experiences I have had myself. Philosophers and others would be less likely to make this mistake if they would converse and collaborate more with the madpeople concerned. When this is not feasible, they should nevertheless strive to keep an open mind. Fantastical fiction may have a role to play here, by showing how bizarre experiences may nevertheless be prima facie conceivable. (shrink)

Robots are increasingly being studied for use in education. It is expected that robots will have the potential to facilitate children’s learning and function autonomously within real classrooms in the near future. Previous research has raised the importance of designing acceptable robots for different practices. In parallel, scholars have raised ethical concerns surrounding children interacting with robots. Drawing on a Responsible Research and Innovation perspective, our goal is to move away from research concerned with designing features that will render robots (...) more socially acceptable by end users toward a reflective dialogue whose goal is to consider the key ethical issues and long-term consequences of implementing classroom robots for teachers and children in primary education. This paper presents the results from several focus groups conducted with teachers in three European countries. Through a thematic analysis, we provide a theoretical account of teachers’ perspectives on classroom robots pertaining to privacy, robot role, effects on children and responsibility. Implications for the field of educational robotics are discussed. (shrink)

The medical and social model of disability is discussed and debated among researchers, scholars, activists, and people in general. It is common to hold a mixed view and believe that some disabled people suffer more from social obstacles and others more from medical problems inherent in their bodies or minds. Rachel Cooper discusses possible ‘test environments’, making explicit an idea which likely plays an implicit part in many disability discussions. We place or imagine placing the disabled person in a range (...) of different environments. If there is a relevant test environment in which they do fine, their problem was societal/external; if there is not, it was medical/internal. Cooper admits that deciding on the appropriate range of test environments is an ethical and political question. In this chapter, I argue that we often ought to widen our scope when discussing psychiatric disabilities. (shrink)

Neuroethics, in its modern form, investigates the impact of brain science in four basic dimensions: the self, social policy, practice and discourse. In this study, we analyzed a set of 461 peer-reviewed articles with neuroethics content, published by authors from 32 countries. We analyzed the data for: (1) trends in the development of international neuroethics over time, and (2) how challenges at the intersection of ethics and neuroscience are viewed in countries that are considered developed by International Monetary Fund (IMF) (...) standards, and in those that are developing. Our results demonstrate a steady increase in global participation in neuroethics from 1989 to 2005, characterized by an increase in numbers of articles published specifically on neuroethics, journals publishing these articles, and countries contributing to the literature. The focus from all countries was on the practice of brain science and the amelioration of neurological disease. Indicators of technology creation and diffusion in developing countries were specifically correlated with increases in publications concerning policy implications of brain science. Neuroethics is an international endeavor and, as such, should be sensitive to the impact that context has on acceptance and use of technological innovation. (shrink)

Pre-reflective Consciousness: Sartre and Contemporary Philosophy of Mind delves into the relations between the current debates on consciousness within analytical philosophy and the debates taking place in continental philosophy in the twentieth century and in particular within the work of Sartre. Examining the return of the problem of subjectivity in philosophy of mind and the idea that phenomenal consciousness could not be reduced to functional or cognitive properties this volume aims to rethink borders between what counts as ‘inner’ and ‘outer’ (...) when the nature of the mental is at stake. (shrink)

It has been argued that in a deterministic universe, no one has any reason to do anything. Since we ought to do what we have most reason to do, no one ought to do anything either. Firstly, it is argued that an agent cannot have reason to do anything unless she can do otherwise; secondly, that the relevant ‘can’ is incompatibilist. In this paper, I argue that even if the first step of the argument for reason incompatibilism succeeds, the second (...) one does not. It is argued that reasons require alternative possibilities, because reasons are action-guiding. A supposed reason to do the impossible, or to do what was inevitable anyway, could not fill this function. I discuss different interpretations of the claim that reasons are action-guiding, and show that according to one interpretation it is sufficient that the agent believes that she has several alternative options. According to other interpretations, the agent must really have alternative options, but only in a compatibilist sense. I suggest that an interpretation of action-guidance according to which reasons can only guide actions when we have several options open to us in an incompatibilist sense cannot be found. We should therefore assume that reasons and obligations are compatible with determinism. (shrink)

Representative democracy is often assessed from the standpoint of direct democracy. Recently, however, many theorists have come to argue that representation forms a democratic model in its own right. The most powerful claim in this direction is to be found within two quite different strands of thinking: the aesthetic theory of Frank Ankersmit and the savage theory of Claude Lefort. In this article, I show that while Ankersmit and Lefort converge in their critique of direct rule, they provide us with (...) two distinct models of democracy. Aesthetic democracy, I argue, in the end falls short as a democratic recuperation of representation. It reduces representation to delegation. Savage democracy proves more fruitful in this respect. It offers a representative view of politics without committing itself to the premises associated with political delegation. (shrink)

There are few concepts as relevant as that of intentional action in shaping our sense of self and the interaction with the environment. At the same time, few concepts are so elusive. Indeed, both conceptual and neuroscientific accounts of intentional agency have proven to be problematic. On the one hand, most conceptual views struggle in defining how agents can adequately exert control over their actions. On the other hand, neuroscience settles for definitions by exclusion whereby key features of human intentional (...) actions, including goal-directness, remain underspecified. This paper reviews the existing literature and sketches how this gap might be filled. In particular, we defend a gradualist notion of intentional behaviour, which revolves around the following key features: autonomy, flexibility in the integration of causal vectors, and control. (shrink)

Harming other people is prima facie wrong. Unless we can be very certain that doing so is justified under the circumstances, we ought not to do it. In this paper, I argue that we ought to dismantle harsh retributivist criminal justice systems for this reason; we cannot be sufficiently certain that the harm is justified. Gregg Caruso, Ben Vilhauer and others have previously argued for the same conclusion; however, my own version sidesteps certain controversial premises of theirs. Harsh retributivist criminal (...) justice can only be morally right if the following three propositions are true: Moral responsibility exists, retributivism is right, and we can find out how much punishment offenders deserve for their crimes. Suppose that we initially assign a high credence to each of the three propositions; I assume for the sake of argument that there are good arguments in support of each. Nevertheless, these arguments ultimately depend on intuitions. Since we have philosophical peers whose intuitions differ from ours, we ought to downgrade our credence in each. However, even slightly less credence in each proposition means far less credence in a conjunction of all three. Since the stakes are high and there are morally safer options for a criminal justice system, we ought to dismantle harsh retributivist ones. (shrink)

This paper goes beyond critiques of western philosophical notions of space as passive, feminine, and unintelligent by reconfiguring containment as an active process. The author draws on work in the history of technology, on a cybernetic epistemology that emphasizes the interdependence of organism and environment, and on intersubjectivist psychoanalytic theories of the maternal provision. A more unexpected ally is found in Heidegger, whose writings on holding and supply are read in ways that contribute to the development of an urgently required (...) philosophy of container technologies. (shrink)