Estamos inmersos en un contexto donde ya no encontramos ningún sentido hablar deidentidad, donde reina la incertidumbre y el desconcierto respecto de la imagen del hombre. Enese sentido, esta creciente saturación de la cultura ha puesto en entredicho todas nuestraspremisas previas sobre el yo, convirtiendo en algo extraño las pautas de relación tradicionales.De un tiempo para acá, se han puesto en entredicho todas las premisas tradicionales sobre lanaturaleza de la identidad personal, hasta tal extremo, que los conceptos mismos de (...) verdad, deobjetividad, de saber, y aún la idea de un ente individual, dotado de determinadas propiedadesmentales, de corporalidad, de conciencia, de subjetividad están corriendo el riesgo de sereliminados de nuestro panorama cultural. Y esto significa algo inquietante para nuestra vida encomún. En términos técnicos esto lo llamaría: dilemas y disloques de la identidad. A pesar delpanorama tan aparentemente oscuro, se podría sostener que anejo a este fenómeno, se pareceasumir con gran fervor las nuevas perspectivas que se avizoran. En consecuencia, evitando unescepticismo a ultranza, aceptando la invitación de Solzshenitsyn de “ir hacia arriba” en lasiguiente etapa antropológica, me atrevería a reconocer con Gevaert que, “los problemasantropológicos se imponen por sí mismos, irrumpen en la existencia y se plantean por su propiopeso. No es, el hombre el que suscita problemas; es el propio hombre el que se haceproblemático debido a la vida y a la condición en que vive. La existencia, al hacerseproblemática, requiere una respuesta y obliga a tomar posiciones” (Gevaert, 1995: 14). (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)

Feminism and postcolonialism are allies, and the impressive selection of writings brought together in this volume demonstrate how fruitful that alliance can be. Reina Lewis and Sara Mills have assembled a brilliant selection of thinkers, organizing them into six categories: "Gendering Colonialism and Postcolonialism/Radicalizing Feminism," "Rethinking Whiteness," "Redefining the 'Third World' Subject," "Sexuality and Sexual Rights," "Harem and the Veil," and "Gender and Post/colonial Relations." A bibliography complements the wide-ranging essays. This is the ideal volume for any reader interested (...) in the development of postcoloniality and feminist thought. (shrink)

The standard view of metaphysical necessity is that it is truth in all possible worlds, and therefore that the correct modal logic for metaphysical necessity is S5, in models of which all worlds are accessible from each other. I argue that S5 cannot be the correct logic for metaphysical necessity because accessibility is not symmetric: there are possible worlds that are accessible from ours but from which our world is not accessible. There are (or could be) some individuals who, if (...) they had not existed, could not have existed. Once the possibility of such individuals is lost, it is gone forever. (shrink)

This paper examines the logic of fictions within fictions. I argue that consistently nested consistent fictions must have certain formal characteristics. The most important is that they form a tree structure. Depending on one’s theory of fictional objects, additional constraints may apply regarding the appearance of a fictional object in two or more fictional universes. The background motivation for the paper is to use iterated fiction operators as a tool for making sense of iterated modal operators; I conclude by noting (...) briefly where the results about nested fictions can, and where they cannot, be extended to nested possible worlds. (shrink)

The purpose of this study was to investigate the role of perceived vulnerability to disease, emotions (disgust, anger), and perceived norms in predicting moral judgments of anti-COVID-19-preventive behaviors in US and Japan. A total of 442 Japanese and 365 American participants completed an online survey. Disgust and anger mediated the link between perceived vulnerability to disease (germ aversion) and moral judgments of preventive behaviors across both cultures. Perceived social norms among friends and family were associated with harsh judgments of anti-preventive (...) behaviors for Japanese but not for American participants. Overall, our results suggest that effective strategies for promoting preventive behaviors may be culturally valid if they focus on the fear for infectious disease and related aversive affect. We also discussed the possibility that some strategies could be characteristic of collectivistic cultures, warranting further cross-cultural comparisons. (shrink)

Drawing from research on moral judgment and affective dysfunction, we examined how trait psychopathy and alexithymia, which are characterized as empathic deficits, relate to utilitarian moral judgments in sacrificial dilemmas. As predicted, primary and secondary psychopathy traits and alexithymia were associated with reduced empathic concern. However, primary psychopathy and difficulty identifying feelings (one of three alexithymia traits), but not secondary psychopathy and other two alexithymia traits, were associated with utilitarian judgments. Moreover, hierarchical regression analysis showed that primary psychopathy, difficulty identifying (...) feelings, and empathic concern made unique contributions to the prediction of direct harm on the victim, whereas alexithymia traits made weaker contributions. Although the lack of affective empathy is found in psychopathy and alexithymia, the process through which the two traits lead to utilitarian judgment in sacrificial dilemmas may be distinct. The present findings add to the growing literature, contributing to a fuller picture of the relationship between empathy, trait psychopathy, and alexithymia. (shrink)

It has been argued by Bernard Linsky and Edward Zalta, and independently by Timothy Williamson, that the best quantified modal logic is one that validates both the Barcan Formula and its converse. This requires that domains be fixed across all possible worlds. All objects exist necessarily; some – those we would usually consider contingent – are concrete at some worlds and non-concrete (but still existent) at others. Linsky and Zalta refer to such objects as ‘contingently non-concrete’. I defend the standard (...) usage of the word ‘exists’, and the view that many objects exist only contingently. I argue that the Linsky/Zalta analysis, and to a lesser extent Williamson’s, suffers not only from a peculiar ontology but also from two related formal difficulties. Their analysis gives either counter-intuitive or ad hoc results about essences, and it fails to accommodate contingently existing abstracta. (shrink)

It has been argued that actualism – the view that there are no non-actual objects – cannot deal adequately with statements involving iterated modality, because such claims require reference, either explicit or surreptitious, to non-actual objects. If so, actualists would have to reject the standard semantics for quantified modal logic (QML). In this paper I develop an account of modality which allows the actualist to make sense of iterated modal claims that are ostensibly about non-actual objects. Every occurrence of a (...) modal operator involves the stipulation of a possible world, and nested modal operators require stipulation of nested possible worlds. I provide an actualistically acceptable (AA) semantics for QML wherein the nesting relation is irreflexive and intransitive and forms a tree. Despite these restrictions, AA models can beshown to be sound and complete for a wide variety of modal logics. (shrink)

Sir Arthur Conan doyle wrote fifty-six short stories and four novels about Sherlock Holmes, collectively known as the Canon. The following are all true facts about the Canon: It is true according to the Canon that Sherlock Holmes is a detective. It is true according to the Canon that Queen Victoria hired a private consulting detective, gave him an emerald tiepin, and offered him a knighthood which he refused. The Canon is about Sherlock Holmes. The Canon is about a brilliant (...) private detective who solves many crimes that baffle Scotland yard. The Canon is also about Queen Victoria .This paper argues that the truth of these and similar facts creates some tension for the theory that fictional characters are abstract objects. A proponent of this theory will have to treat sentences and as disanalogous, and to as similarly disanalogous, in a way that undercuts part of the motivation for accepting an ontology of fictional characters. (shrink)

Este trabajo quedó segundo en la IV Olimpiada de filosofía que organiza FICUM en la modalidad de secundaria y bachillerato para promocionar la filosofía entre los jóvenes.

This paper is concerned with the different forms of pleasure and identification activated in the consumption of dominant and subcultural print media. It centres on an analysis of the lesbian visual pleasures generated through the reading of fashion editorial in the new lesbian and gay lifestyle magazines. This consideration of the lesbian gaze is contrasted to the lesbian visual pleasures obtained from an against the grain reading of mainstream women's fashion magazines. The development of the lesbian and gay lifestyle magazines, (...) in the context of the pink pound, produces a situation in which an eroticized lesbian visual pleasure is the overt remit of the magazine, rather than a clandestine pleasure obtained through a transgressive reading of dominant cultural imagery. In contrast to the polysemic free-play of fashion fantasy by which readers produce lesbian pleasure in the consumption of mainstream magazines, responses to the fashion content in the lesbian magazine Diva suggest that in a subcultural context readers deploy a realist mode of reading that demands a monosemic positive images iconography. The article uses the concept of subcultural competency to consider the different ways lesbians read mainstream and subcultural print media and suggests that the conflict over Diva‘s fashion spreads may be linked to changing patterns of identification and the use of dress for recognizability. (shrink)

It has been alleged that actualism and quantified modal logic are incompatible. My aim in this dissertation is twofold: to defend thoroughgoing actualism with respect to possible objects, and to present a modified semantics for quantified modal logic that is compatible with such a position. The basic strategy is to draw on the parallels between fictions and possible worlds to develop a hierarchical system of worlds-within-worlds ;Actualists usually take first-order modal statements as being about the right objects, by stipulation. Any (...) actualistically acceptable semantics must extend this approach to higher-order modal statements. "I could have had a brother who was a banker but could have been a pianist" means: there is a first-order world in which I have a banker brother, and there exists within that world a second-order world in which that very brother is a pianist. This eliminates the troubling need to identify non-actual objects across worlds of the same order. ;The concept of worlds-within-worlds is analogous to that of consistent fictions-within-fictions. Independent investigations of each concept reveal that both nesting structures are treelike, irreflexive and intransitive. Despite these restrictions, AA models are relatively tractable, being derivable from Kripke models for by unraveling. They are sound and complete for normal propositional modal logics, and for the quantified modal logic Q1R as long as constants are excluded from the language. ;In Chapter 1, I argue for actualism and against some proposed responses to the iterated modality problem. I then present the idea of nested worlds as a solution. Chapter 2 examines the analogous concept of nested fictions, to shed some light on consistent nesting structures. Chapter 3 returns to modality proper; AA models are defined and defended for both propositional and quantified modal logic. Chapter 4 contains the soundness and completeness results, and ends with a somewhat surprising philosophical argument motivated by AA semantics: unless it is metaphysically necessary that all objects have sufficient essences, the correct logic for metaphysical necessity must be weaker than B. (shrink)

En este trabajo se estudia un fenómeno didáctico que puede emerger en la construcción de dos nociones matemáticas, a saber, los números irracionales y la función periódica. Se analizan los conflictos semióticos asociados al reconocimiento visual de la periodicidad numérica y funcional. Se observa que estos conflictos se pueden agrupar fundamentalmente en tres dimensiones: una, cognitiva, relativa a la forma de adquisición de las nociones por los sujetos, en especial en aquellos aspectos relativos a la percepción visual; otra, epistémica, relativa (...) al significado atribuido a los objetos matemáticos; y, finalmente, de enseñanza, relativa a reglas del contrato didáctico. El estudio fundamenta teóricamente y aporta datos empíricos sobre las dificultades asociadas a estas tres dimensiones en la construcción de número irracional y de la función periódica. (shrink)

El objetivo fue determinar la relación entre el uso de las TIC y la neuroeducación en el aprendizaje de los alumnos. La investigación fue de tipo cuantitativo con diseño correlacional descriptivo de corte transversal mediante un cuestionario virtual. La población de estudio fueron 367 estudiantes de la Universidad Central del Ecuador. Para la obtención de los resultados se utilizó el programa estadístico SPSS v.25. El coeficiente de correlación de Spearman dio un valor de 0.754, revelando que existe una correlación moderada (...) positiva entre ambas variables TIC y neuroeducación. Conclusión: El 50% de docentes aplican gamificación para estimular la memoria visual. (shrink)

El niño como sujeto de derecho.--El derecho a la educación y el derecho a educar.--Laicidad.

El perfeccionismo es la exigencia personal, evaluando su propio valor en términos de productividad y logro. Se utiliza una metodología experimental y tiene como objetivo principal conocer si los niños/as de dos cursos de cuarto de primaria son perfeccionistas y proponer actividades utilizando el método REAPSES en la asignatura de Educación física. En conclusión, gracias a las actividades planteadas los alumnos/as afirman encontrarse más relajados y con una idea más clara del significado del estrés y cómo éste les afecta. Sin (...) embargo, en cierto modo, parte del estrés es causado por el nivel de exigencia por parte de las familias. (shrink)

Como objetivo se determinó la relación entre los factores motivacionales y el rendimiento académico. La investigación fue cuantitativa de diseño correlacional con corte transversal. La muestra fueron 315 estudiantes de en dos Facultades de la Universidad Central del Ecuador. Se aplicó un cuestionario de 27 preguntas con escala de Likert. Para los análisis estadísticos se utilizó el software SPSS V25. El resultado principal dio una correlación de Pearson de 0,827, siendo fuerte positiva entre las dos variables. Además, se analizó la (...) relación con las diferentes dimensiones de cada variable. En conclusión, la motivación mejora el rendimiento académico de los estudiantes. (shrink)

[1] Ḥeleḳ ha-moʻadim -- [2] Ḥeleḳ parashiyot ha-Torah -- ḥeleḳ 3. Be-ʻinyene midot.

Festschrift for Maḍiniyavela Śrī Mēdhaṅkara, Sri Lankan Buddhist monk; contributed articles chiefly on economic and ethical aspects of Buddhism.

The widespread critical evidence surrounding executive compensation of listed corporations has boosted shareholder activism in recent decades. The say-on-pay (SOP) mechanism—a vote in which shareholders express their (dis)agreement with executive pay designs—is one of the corporate governance mechanisms that has led to this activism among listed firms. Merging agency and socioemotional wealth (SEW) arguments, this paper analyzes how effective SOP voting results are among listed family firms in terms of CEO compensation efficiency and equity. Using a sample of UK listed (...) firms from 2011 to 2018, our results show that SOP effectiveness is positively influenced by family ownership and is strongly moderated by family involvement in management and in governance as well as by family generation. Our findings stress the strong family effect and the ethical perceptions of family shareholders on SOP voting, showing how family participation in the firm encourages fairer and more aligned CEO compensation packages. SOP institutional and practical implications oriented to preserve shareholder value and family wealth are finally outlined. (shrink)

ObjectiveTo assess distracted attention and performance on a computer task following completion of a sustained attention and acute media multitasking task among adolescents with varying self-reported usual media multitasking.MethodsNinety-six 13- to 17-year-olds played the video game Tetris following completion of a Go/No-go paradigm to measure sustained attention in the presence of distractors, an acute media multitasking, or a passive viewing condition. Adolescents completed the conditions on separate visits in randomized order. Sustained attention was measured within the Go/No-go task by measuring (...) errors of omission. Distracted attention while playing the Tetris task was measured by computing eye tracking measures of attention to irrelevant distractor images that bordered the Tetris game. Participants also self-reported their daily media multitasking.ResultsThe Go/No-go task revealed important qualitative differences in sustained attention among low and high usual media multitaskers. There was a uniform improvement in sustained attention among low usual media multitaskers, demonstrated by a consistent linear decrease in omission errors. Among high usual media multitaskers, there was initially a decrease in sustained attention followed by an increase. Completing the Go/No-go task also statistically significantly reduced distractibility and increased performance while playing Tetris compared to the passive viewing condition, but only among those with low usual media multitasking. There was a non-statistically significant trend that completing the acute media multitask increased subsequent distractibility and performance while playing Tetris among high media multitaskers.ConclusionIn this sample of adolescents, practicing a sustained attention task reduces distractibility and improves task performance among those who have low levels of usual media multitasking. (shrink)

Due to the lockdown caused by the COVID-19 pandemic, e-learning suddenly spread to different levels of education, including university. In Spain, students of sports sciences are prepared during a 4-year study program to work in different areas and with different populations. The aims of this study were to assess the effect of pandemic-driven online teaching on self-efficacy for the inclusion of people with disabilities in a group of university students enrolled in a compulsory course on adapted physical activity ; compare (...) the gains from SE before and after the APA course with a sample of students who followed the same course before the pandemic; and explore the influence on SE scores according to three demographic variables: gender, previous SE training, and previous experience with people with disabilities. The study involved a sample of 124 university students, distributed into two groups: prepandemic and pandemic. They voluntarily completed the Spanish version of the Scale of Self-Efficacy of Physical Education Teachers of Physical Education toward Children with Disabilities, obtaining pre- and postcourse measurements. Due to the sudden lockdown, two-thirds of the pandemic course was taught online, and changes in the teaching strategies and tasks had to be made. Similar gains were obtained in both groups for the three subscales of the SE scale : intellectual, physical, and visual disability. No significant differences were found for comparisons between groups and the interaction effect of the course taught, nor for the three demographic co-variables. This study shows that teaching strategies that encourage student participation and reflections on learning increase student SE, regardless of the teaching format. Moreover, the gains in SE are invariable to demographic co-variables. (shrink)

Si l'art n'est pas d'abord considéré en tant que production d'objets mais comme manière d'être au monde, intéressant tout homme et toute société, si la foi n'est pas considérée en tant qu'adhésion intellectuelle aux vérités de la foi, mais comme acte capable d'illuminer et transformer le monde, alors, loin d'être uniquement en rapport d'interaction, d'interdépendance, ou de ressemblance, l'art, la foi et le politique sont une unique réalité vivante. En ce sens, chacune des trois entités sera d'autant mieux comprise et (...) pensée qu'elle sera vue comme l'une des modalités de la même dynamique. Cette thèse se développe en trois étapes éclairant successivement les présupposés de sa démonstration, son effectivité dans la personne individuelle comme dans la société, enfin sa portée programmatique : le monde n'aura d'avenir qu'en assumant le ressort poétique qui le constitue et l'anime depuis le commencement. (shrink)

In Western countries, the ideal professional and ethical attributes of healthcare providers and the ideal patient-doctor relationship have been analysed in detail. Other cultures, however, may have different norms, arising in response to diverse healthcare needs, cultural values and offering alternative perspectives. In this paper, drawing a case study, we introduce the concept of Shinmi, used in Japan to describe a desirable approach to medical care. Shinmi means kind or cordial in Japanese. In the medical context, it refers to doctors (...) treating patients with a degree of emotional closeness as if they were the doctors’ own family. We analyse the concept of Shinmi, drawing on virtue ethics. We distinguish two different elements to a Shinmi-na attitude. As illustrated in our example, excessive Shinmi can be problematic for patients and doctors. Furthermore, elements of Shinmi may conflict with existing Western values (for example, norms that encourage emotional detachment and discourage doctors’ treatment of family members). However, if pursued appropriately, we argue that a balanced Shinmi-na approach can be conducive to the goals of medicine. The concept of Shinmi may be valuable for medical students, in Japanese and potentially other health care systems, and help them to cultivate a virtuous approach to meeting the emotional needs of patients. (shrink)