Feelings are conscious mental events that represent body states as they undergo homeostatic regulation. Feelings depend on the interoceptive nervous system (INS), a collection of peripheral and central pathways, nuclei and cortical regions which continuously sense chemical and anatomical changes in the organism. How such humoral and neural signals come to generate conscious mental states has been a major scientific question. The answer proposed here invokes (1) several distinctive and poorly known physiological features of the INS; and (2) a unique (...) interaction between the body (the ‘object’ of interoception) and the central nervous system (which generates the 'subject' of interoception). The atypical traits of the INS and the direct interactions between neural and non‐neural physiological compartments of the organism, neither of which is present in exteroceptive systems, plausibly explain the qualitative and subjective aspects of feelings, thus accounting for their conscious nature. (shrink)

The imposition of telework due to the COVID-19 pandemic brought with it the need for individuals to readjust their work-non-work boundaries. In this crisis situation, individuals’ needs to manage these boundaries may have been influenced by contextual factors, such as family-supportive supervisor behaviors and macro-structural aspects, such as the country to which the teleworkers belong. This study tests the mediating effect of boundary control on the relationship between FSSB and satisfaction with life and examines the moderating effect of the country (...) in the relationship between FSSB and boundary control. With a sample of 108 Portuguese and 118 Pakistani individuals, the results were analyzed using Process tool. FSSB was found to be important for teleworkers to control their boundaries and for their satisfaction with life and this control was also seen to contribute to higher levels of life satisfaction. Differences between the two countries were observed: boundary control mediates the relationship between FSSB and satisfaction with life for Pakistani teleworkers and these workers are more dependent on FSSB to exercise boundary control than Portuguese teleworkers. This study highlights the importance of considering contextual factors when implementing telework. Practical implications are discussed. (shrink)

There has been little consensus around the sequential relationship between organizational affective commitment and workers’ wellbeing. In line with the Conservation of Resources Theory, results of this two-wave study with a contact center employee sample showed that organizational affective commitment decreases work ill-being and increases work wellbeing. Furthermore, in keeping with the loss spiral assumption of this theory, the mediating role of burnout in the affective commitment-health relationship was supported in this study. However, in accordance with the Job Demand-Resources, work (...) engagement was found not to prevent effects on health. The findings have implications for the organizational affective commitment theory, as well as for organizational occupational health policies and interventions. (shrink)

In September 2018, a controversial judicial sentence concerning sexual violence caused a public outcry in Portugal. The court decision invoked the alleged environment of mutual seduction, the use of much alcohol consumption, and the lack of serious injuries to justify the suspended penalty. Stemming from the idea that understandings of what journalism is and what it should be are profoundly ideological and that notions of what it means to be and to behave like a woman and as a man have (...) been developed based on shifting realities within generalised patriarchal structures, this article intends to critically analyse the news media coverage of the controversial judicial sentence on this rape case in Portugal exploring the implications objective-based journalism entails for gender equality. As such, it will identify the shortcomings of objectivity and its leeway when covering sexual violence exploring how objective-based journalism provides room to negotiate practices, norms, identities, and meanings concerning sexual violence, particularly rape and rape myths, and questioning whether a margin of maneuvre is enough to deconstruct patriarchal assumptions of feminity, masculinity and sexuality. (shrink)

A public health emergency, as the COVID-19 pandemic, may lead to shortages of potentially life-saving treatments. In this situation, it is necessary, justifiable and proportionate to have decision tools in place to enable healthcare professionals to triage and prioritise access to those resources. An ethically sound framework should consider the principles of beneficence and fair allocation. Scientific Societies across Europe were concerned with this problem early in the pandemic and published guidelines to support their professionals and institutions. This article aims (...) to compare triage policies from medical bodies across Europe, to characterise the process of triage and the ethical values, principles and theories that were proposed in different countries during the first outbreak of COVID-19. (shrink)

Mães exercem papel importante no processo de hospitalização das crianças. As intervenções em psicologia positiva podem contribuir com o fortalecimento dos recursos positivos delas, o que por sua vez auxilia na recuperação da saúde das crianças. Este estudo teve por objetivo apresentar o relato da aplicação e avaliação de uma intervenção em psicologia positiva para mães de crianças hospitalizadas, visando demonstrar evidências de utilidade clínica da intervenção. A intervenção buscou diminuir sintomas de estresse, ansiedade e depressão, aumentar os níveis de (...) bem-estar subjetivo e promover o uso de estratégias de enfrentamento adaptadas ao contexto da hospitalização infantil entre as mães. Os resultados mostraram que o procedimento pode ter auxiliado as mães usarem estratégias favorecedoras durante a hospitalização, bem como alternarem o seu uso conforme a demanda. Além disso, elas puderam vislumbrar elementos positivos presentes e sentirem-se apoiadas. (shrink)

The basic assumption present in these articles is that naturalism is highly compatible with a wide range of relevant philosophical questions and that, regardless of the classical problems faced by the naturalist, the price paid in endorsing naturalism is lower than that paid by essentialist or supernaturalist theories. Yet, the reader will find a variety of approaches, from naturalism in Moral Philosophy and Epistemology to naturalism in the Philosophy of Language, Philosophy of Mind and of the Aesthetics.

In an unprecedented fashion, COVID-19 has impacted the work-family interface since March 2020. As one of the COVID-19 pandemic consequences, remote work became widely adopted. Furthermore, it is expected that other pandemics will occur in the future. Hence, this context represents a chance to gain deeper insight into telecommuters’ work and family spheres. Following PRISMA guidelines, the present narrative review aims to synthesise the COVID-19 impact on the work-family interface. Out of 121 screened references, 32 articles that measure at least (...) one of the following variables–work-family conflict, work-family enrichment, work-family balance, and boundary management were included. A thematic analysis using NVIVO12 was conducted, from which eight topics emerged: “paid workload, unpaid workload, and gender”; “well-being and gender”; “job resources, job demands, and gender”; “couples and gender”; “parenting and gender”; “occurrence of work-family enrichment with work-family conflict and gender”; “enforced blurred boundaries, its management, and gender”; “boundary management impact on work-family conflict, work-family enrichment, and work-family balance.” Overall, studies point out that COVID-19 had a complex effect on both work-family conflict and work-family balance, making it difficult to state whether these variables were mitigated or augmented. Findings demonstrated that COVID-19 produced little changes in work-family enrichment. As for the COVID-19 impact on work-family boundary management, individuals had to create new tactics to manage them due to the absence of boundaries between both systems. Besides, due to traditional gendered roles, the COVID-19 health crisis seems to have brought additional hurdles to couples and women.Systematic Review Registration[https://www.crd.york.ac.uk/prospero/display_record.php?ID=CRD42021278254], identifier [CRD42021278254]. (shrink)

Background Ethical decision making in intensive care is a demanding task. The need to proceed to ethical decision is considered to be a stress factor that may lead to burnout. The aim of this study is to explore the ethical problems that may increase burnout levels among physicians and nurses working in Portuguese intensive care units . A quantitative, multicentre, correlational study was conducted among 300 professionals.Results The most crucial ethical decisions made by professionals working in ICU were related to (...) communication, withholding or withdrawing treatments and terminal sedation. A positive relation was found between ethical decision making and burnout in nurses, namely, between burnout and the need to withdraw treatments , to withhold treatments and to proceed to terminal sedation . This did not apply to physicians. Emotional exhaustion was the burnout subdimension most affected by the ethical decision. The nurses' lack of involvement in ethical decision making was identified as a risk factor. Nevertheless, in comparison with nurses , it was the physicians who more keenly felt the need to proceed to ethical decisions in ICU.Conclusions Ethical problems were reported at different levels by physicians and nurses. The type of ethical decisions made by nurses working in Portuguese ICUs had an impact on burnout levels. This did not apply to physicians. This study highlights the need for education in the field of ethics in ICUs and the need to foster inter-disciplinary discussion so as to encourage ethical team deliberation in order to prevent burnout. (shrink)

Burnout is a phenomenon characterized by fatigue and frustration, usually related to work stress and dedication to a cause, a way of life that does not match the person’s expectations. Although it seems to be associated with risk factors stemming from a professional environment, this problem may affect any person. Palliative care is provided in a challenging environment, where professionals often have to make demanding ethical decisions and deal with death and dying. This article reports on the findings of a (...) systematic review aimed at identifying described burnout levels in palliative care nurses and physicians, and the related risks and protective factors. The main findings indicate that burnout levels in palliative care, or in health care settings related to this field, do not seem to be higher than in other contexts. (shrink)

O presente artigo incide sobre o conceito de expressão no âmbito do pensamento leibniziano, pretendendo, a partir da sua análise, expor a crítica que Fernando Gil lhe tece, nomeadamente no que diz respeito à ideia de “causalidade expressiva”. Passando por vários conceitos leibnizianos como “substância simples”, “força”, “apetição” ou “entre-expressão”, o que se pretende analisar é a reflexão de Fernando Gil relativamente àquilo que o autor considera “a aporia da expressão leibniziana”, e, ainda, a sua reabilitação da inteligibilidade expressiva como (...) pensamento do contínuo, onde inteligibilidade, beleza e simplicidade se implicam mutuamente. (shrink)

Entre los años 1945 y 1965 se presentaron en Medellín encontradas posiciones en torno a los problemas del arte moderno. La presencia del arte abstracto fue rechazada en el medio artístico como forma de expresión propia; esta actitud retardataria llevó al arte antioqueño a marginarse casi en su totalidad del proceso renovador del arte nacional. Obras como las de Fernando Botero y Aníbal Gil son una excepción en este periodo de la plástica regional.

In this paper, I articulate and discuss Clifford's two main arguments in favor of the norm that it is illegitimate to believe based on insufficient evidence. The first argument appeals to the instrumental value of belief, and the second one appeals to our intrinsic interest in the truth. Both arguments bring to the fore the relevance of moral and social factors to determine norms for belief. I sustain that the first argument is insufficient to establish Clifford's norm in general. Beliefs (...) that are not a mean to an action fall outside the scope of the first argument. The second argument has a wider scope. However, it can be undermined if the agent follows an intellectualized norm that aims to protect the rest of her cognitive and active life from her unjustified beliefs. It’s an empirical matter whether a human agent is able to follow this norm. I defend that Clifford’s norm should be reformulated, including some parameters that have influence on the sufficiency of evidence. Finally, prudential and moral factors can affect the legitimacy of belief. It’s legitimate to believe without sufficient evidence only in special cases, when the agent insulates the unjustified belief, or when the good that results from believing surpasses the harms yielded by credulity. (shrink)

Objetiva-se, com o presente trabalho, apontar as diferenças entre o resultado de interpretação judicial e o ativismo judicial, cujas soluções são, respectivamente, a criação do Direito e a criação de direitos. As expressões estão diferentemente grafadas para vinculá-las a comportamentos distintos: "do Direito”, refere-se à regra extraída da ordem jurídica, enquanto "de direitos”, diz respeito a direitos subjetivos (reais ou ideais). O método utilizado foi o dialético, a partir da revisão bibliográfica e pesquisa jurisprudencial, com enfoque na criação jurisdicional, cujo (...) resultado permite constatar as diferentes realidades decorrentes da escolha do juiz, quando da prestação jurisdicional. (shrink)

La Lectura Ordinaria super sacram scripturam attribuée à Henri de Gand fut conservée dans un seul manuscrit qui date de la fin du 13e ou du début du 14e siècle . Sa description et son histoire ont été faites par le dr. Raymond Macken en 1972, qui est aussi l'éditeur de l'ouvrage. L'édition critique du texte nous a permis de constater l'existence de certaines ressemblances entre son contenu et les autres œuvres d'Henri de Gand, sûrement authentiques. Déjà avant l’édition de (...) R. Macken, et etant donnée l'importance considérable de Platon et d'Avicenne dans les pages de la Lectura, Beryl Smalley parlait de l'attribution de l'ouvrage à Henri «as a working hypothesis». Cependant, nous devons d'abord à R. Macken, et après à Gordon A. Wilson, les examens les plus complets du problème de l'attribution résultant de la comparaison du texte avec les Quodlibeta et la Summa. (shrink)

En Fenicias resultan dignos de destacar los cambios substanciales que Eurípides introdujo al tratamiento del mito en sus versiones tradicionales. De modo particular, en el análisis filológico-literario de prólogo y párodos se pone de manifiesto una evidente integración de espacios y tiempos teatrales y el ensamble de los dos ámbitos trágicos estructurales significa una expresión clara de los límites entre "lo propio" y "lo ajeno". Nos proponemos demostrar que el diseño espacio-temporal de prólogo y párodos construye una suerte de agón (...) en el nivel espacial que se evidencia en el trazado de los personajes de Yocasta, Antígona y el Pedagogo en el prólogo y de las mujeres fenicias en la párodos. De modo que también resulte agonal la confrontación entre propio y ajeno, ya mencionada, como característica de la composición teatral euripidea, acorde con las realidades comunicativas de la época de representación de la tragedia y con la propuesta poética del autor. In 'Phoenician Women' it is interesting to point out the substantial changes that Euripides introduced to the treatment of the myth in his traditional versions. In a singular manner, in the literary-philological analysis of the prologue and párodos it does depict an evident integration of theatrical times and spaces and the assembly of the limits between ´the foreign´ and ´the self´. We will try to show that the temporal-space design of the prologues and párodos builds a chance of agón at the spatial level that gives evidence to the outline of the characters in Yocasta, Antigone and in the Pedagogue in the prologue and the Phoenician women in the párodos. Furthermore, the confrontation between the foreign and the self is also agonistic, already mentioned, is a characteristic of the theatrical Euripidean composition, according to communicative realities of the time of the representation of the tragedy and the poetic proposal of its author. (shrink)

Trope theory is the view that the world consists (wholly or partly) of particular qualities, or tropes. This admittedly thin core assumption leaves plenty of room for variation. Still, most trope theorists agree that their theory is best developed as a one-category theory according to which there is nothing but tropes. Most hold that ‘sameness of property’ should be explained in terms of resembling tropes. And most hold that concrete particulars are made up from tropes in compresence (for an overview, (...) including an introduction to some alternative versions of the view, cf. Maurin, 2014). D. M. Armstrong disagrees. He thinks the world is a world of immanent universals, the thin particulars in which those universals are instantiated, and the states of affairs that—thereby—exist. He holds that ‘sameness of property’ should be explained in terms of numerically identical universals or—if the resembling things are the universals themselves—in terms of partially identical universals. And he believes that concrete particulars are made up from ‘thin particulars’ in which a (sufficient) number of universals are instantiated. In spite of their disagreements, proponents of tropes owe Armstrong a debt of gratitude. First, for being one of the theory’s earliest, most serious, and—not least—most prominent, critics (Armstrong for the first time considers, and rejects, what he then labels ‘particularism’, in his 1978a). But also for being one of the theory’s most ardent champions. Already in his 1989a, Armstrong regrets his 1978-rejection of the view. Equivalence classes of exactly resembling tropes, he now admits, for most purposes “serve as an excellent substitute for universals” (Armstrong 1989a, 122). But then why isn’t Armstrong a trope theorist? In this paper, Armstrong’s main reasons for rejecting the trope view are critically scrutinized. All of them, it is maintained, fail to convince. If this argument is accepted, Armstrong seems to have no—or, at least, no good—reason for not accepting the existence of tropes. But, then, ought Armstrong to have been a trope theorist? If the ‘best’ version of the trope view turns out to be ontologically more parsimonious than Armstrong’s own theory of universals, then, yes. That there is a version of the trope view, a version that is not (or, at least not seriously) considered by Armstrong, that is ontologically more parsimonious than the universals view, is argued in the next section. Why none of Armstrong’s reasons for preferring universals to tropes manage to convince, is explained in the section after that. First, however, and in order to avoid a common misunderstanding of the trope view and, as a consequence, of why one ought to reject it, a few more words about the core-difference between tropes and universals, and about how this difference matters (as well as does not matter) to what—and how well—these theories explain. (shrink)

Women who suffer from fertility issues often use in vitro fertilization (IVF) to realize their wish to have children. However, IVF has its own set of strict administration rules that leave the women physically and emotionally exhausted. Feeling alienated and frustrated, many IVF users turn to internet IVF-centered forums to share their stories and to find information and support. Based on the observation of Dutch and Greek IVF forums and a selection of 109 questionnaires from Dutch and Greek IVF forum (...) users, we investigate the reasons why users of IVF participate in online communities centered on IVF, their need for emotional expression and support, and how they experience and use the information and support they receive through their participation in the online community. We argue that the emotional concerns expressed in such forums should be taken into account by health care ethics committees for IVF-related matters in order to promote more patient-oriented care and support for women going through IVF. (shrink)

Research ethics is increasingly formally regulated, but little is known about how ethical considerations are reported in dissertations. The aim of this literature study was to describe the status and trends of ethical considerations in Swedish doctoral dissertations written by registered nurses. A total of 77 dissertations from 1987, 1997, and 2007 met the inclusion criteria and were analyzed by descriptive statistics. Ethical considerations were mostly overlooked in 1987, but almost ubiquitous by 2007. All dissertations in 2007, except one, had (...) a section on ethical considerations; however, these were short, lacking in references, and short on content. The most common topic was informed consent and approval from research ethics review boards, followed by confidentiality and ethical aspects of methodological issues. Our results imply that the quantity and quality of ethical considerations must be improved in order to assure ethical soundness for participants, patients, researchers, and society. (shrink)

Este artigo pretende discutir a concepção de aparência desenvolvida por Hannah Arendt na obra A Vida do Espírito (1977), tendo em vista a centralidade da questão como elemento inicial da reflexão sobre as atividades do espírito. Inicialmente, o texto discorre sobre parte dos atravessamentos teóricos presentes na interpretação arendtiana da aparência, concentrando-se no conteúdo de referência em Martin Heidegger. Como resultado, ocorre um afastamento realizado pela autora em relação à metafísica tradicional, e tal postura crítica será compreendida a partir do (...) diálogo com Heidegger e Kant. Assim, na sua transversalidade com a faculdade do pensar e com o ser em geral, entende-se que a crítica à metafísica é consequência direta da concepção de aparência proposta pela autora. Por fim, uma breve elucidação metodológica do conteúdo de A Vida do Espírito será apresentada, com o intuito de justificar seu caráter interpretativo baseado no método fenomenológico-hermenêutico aos moldes heideggerianos, em detrimento de uma descrição fenomenológica de inspiração husserliana. (shrink)

Entre las valiosas piezas que conforman el rico tesoro de la catedral hispalense destacan un cáliz y un copón de oro y piedras preciosas, joyas sobre las que existen pocas y confusas noticias. En este artículo se aclaran definitivamente diversos aspectos sobre su origen, autoría y ejecución.

In the present work, we raise the question of the elaboration of an ethical and political praxis in the era of precariousness. We postulate a division intrinsic to the subject immersed in the neoliberal capitalism, whilst arguing for the continuity of said subjectivity with the ethical developments of Kant, through the resignification of its emancipatory components. We sustain that identity politics are insufficient as a means to overcome the ethics of precariousness insofar as they fail to articulate an idea of (...) universality. Against them, we argue in favor of R. Negarestani’s position about the labor that supposes the construction of a new rationality and we evaluate said project through the concept of value, necessary to conceive an alternative to an intrinsically economical order. (shrink)

RESUMO É certamente hegemônica na recepção do pensamento político rousseauniano, de seus primeiros momentos à exegese contemporânea, a tese segundo a qual o contrato social seria incompatível com a negação do direito natural. A convicção comum a esses intérpretes, herdada da tradição jusnaturalista moderna, é a de que, na ausência de uma obrigação moral prévia - a lei natural - e, portanto, de uma sanção que confira força vinculante à promessa daqueles que se engajam no ato de contratar, o pacto (...) fundamental não passaria de um formulário vão, cujos termos seus celebrantes dificilmente cumpririam. As teorias contratualistas da origem do corpo político encontrar-se-iam, assim, necessariamente atreladas ao jusnaturalismo. Na contramão desse viés de leitura, pretendemos neste artigo desenvolver e sustentar a hipótese de que o contrato social concebido por Jean-Jacques Rousseau, distinto da forma contratual clássica em aspectos cruciais, dispensa a sanção da lei de natureza. Será o caso, para tanto, de esmiuçar a estrutura sui generis do pacto rousseauniano, revelando, finalmente, de onde emana seu poder coercitivo. ABSTRACT The conception according to which the social contract would not be compatible with the refusal of natural right is widely hegemonic in the reception of the Rousseaunian political thought, from its beginnings to the present day exegesis. The common contention of these interpreters, inherited from the modern jusnaturalistic tradition, is that, in the absence of a previous moral obligation - the natural law - and therefore of a sanction able to procure binding force to the promise of those who engage in the act of contracting, the fundamental pact would be but a vain form, whose terms its celebrants would hardly keep. Thusly, the contratualist theories of the origin of the political body would necessarily find themselves linked to jusnaturalism. As a counterpoint to this interpretative bias, we intend in the present article to develop and sustain the hypothesis that the social contract conceived by Jean-Jacques Rousseau, distinct from the classical contractual form in some crucial aspects, dismisses the sanction from the law of nature. To that end, it will be relevant to unravel the sui generis structure of the Rousseaunian pact, elucidating, lastly, the source of its coercive power. (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)

O presente artigo almeja refletir sobre os pressupostos educacionais presentes na obra Sobre a Pedagogia, de Kant e A destinação do erudito, de Fichte. Quanto a Kant, buscar-se-á demonstrar a importância que o pensador confere a uma sólida formação na infância, que será refletida no adulto do futuro. No que se refere a Fichte, o pensador, partindo de pressupostos kantianos, reafirma a importância da construção de uma sociedade moral, na qual cada indivíduo tem uma vocação a ser exercida livremente e (...) que beneficiará a todos os demais. Em ambos os pensadores, pode-se perceber uma ênfase no estabelecimento da educação moral, com o objetivo de promover uma boa convivência em sociedade. A finalidade dessa educação é fazer com que os instintos se submetam à lei moral, que, em última instância, serve para permitir que o indivíduo conviva em harmonia com seus semelhantes. (shrink)

The purpose of this study is to determine the psychological meaning of coauthorship for a group of scientists, based on the assumption that the meaning of a concept is related to experience on “how a person behaves in a situation, depending on what the situation signifies to him”. The semantic meaning provides for an interpretation of action in beliefs, goals and intentions, following the idea that semantic meaning is a basis for inferring intentions to perform action. We used the Natural (...) Semantic Networks Method. We interviewed 162 scientists in the physical and natural sciences. Results show a cluster of the semantic meaning of coauthorship in which collaboration, teamwork, work, common interest, discussion and others, are retrieved from memory and represented as a natural semantic network of the concept of coauthorship. Collaboration and teamwork are the two concepts that have the highest semantic value and this holds true for various disciplines although teamwork is the most elicited word associated to coauthorship. We propose a model in which coauthorship represents the result of the experience, attitudes and behavior of a group process concerning collaboration and teamwork in science. (shrink)

This article takes a closer look at two seemingly contradictory developments of the early 1960s – the broadening of socialist participation and proliferation of social control – and their impact on young people. It also aims to go beyond the state-society dichotomy by introducing the concepts of youth collective practices and control culture. The analysis will show that multiple state and non-state agents controlled courtyard groups. They developed different, contesting interpretations and practices. While the courtyard groups were diverse and many (...) of them did not break any laws, the agents of control culture viewed them as deviant. However, it was not only the apparent or supposed “deviance” of some courtyard groups that put them in the spotlight but also their uncontrollability and estrangement from Soviet leisure venues and practices. (shrink)

This paper analyzes two different proposals, one by Ellis and Brundrit, based on classical relativistic cosmology, the other by Garriga and Vilenkin, based on the DH interpretation of quantum mechanics, both concluding that, in an infinite universe, planets and beings must be repeated an infinite number of times. We point to possible shortcomings in these arguments. We conclude that the idea of an infinite repetition of histories in space cannot be considered strictly speaking a consequence of current physics and cosmology. (...) Such ideas should be seen rather as examples of «ironic science» in the terminology of John Horgan. (shrink)

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