Introduction -- Get political -- The animals need you -- Animal advocacy 101 -- Share the love -- The political beast -- Money talks -- Compassion in the classroom -- The power of words -- Find your pack -- Get wild -- Green is the new black -- Chaper 10: conservation uncaged -- Neighborhood bird watch -- Unplug climate change -- Plastic detox -- Down the drain -- Take extinction off your plate -- Let's talk about sex -- The call (...) of the wild -- Get personal -- The animals aren't amused -- Clean conscience -- What not to wear -- Old MacDonald lost his farm -- Holiday hangover -- Don't get catfished -- If you see something, say something -- The ambassador of dogville -- Unconditional love -- Be the change -- Appendix: additional resources -- Notes. (shrink)

Pieper follows a philosophical tradition set down by Plato, who bears only a superficial relationship to Plato's Stepchildren (TOS) Aristotle, and Thomas Aquinas, all of whom could find some affinity with Star Trek and other sci‐fi/fantasy adventures that tell a good morality tale or stretch the limits of human imagination. Aristotle points out, humans, as rational animals, isn't satisfied with mere pleasure seeking, but is driven to reflect upon the limitless possibilities of existence. The value of festive pursuits during higher (...) times is grounded in the connection between human and divine minds. Socrates set the standard for communal and individual self‐exploration when he emphatically said that the unexamined life is not worth living. Knowledge, according to Aristotle, is not only speculative in nature, encompassing scientific and theoretical reasoning, but also practical, that is, technical and ethical reasoning. (shrink)

This volume is the latest in a series of books and articles stretching back more than three decades on a theme quite startling in its claims and implications: that terrestrial life did not originate on Earth but arrived in the form of cells or bacteria from outer space. The idea of “panspermia,” that the seeds of life are spread from planet to planet, dates to the 19th century with the ideas of Lord Kelvin. It was championed by the (...) Swedish physicist, chemist, and Nobelist Svante Arrhenius at the beginning of the 20th century. Once scientists recognized the difficulties of life surviving in the conditions of interplanetary and interstellar space, by the 1960s a neo-panspermia became popular: not life itself, but prebiotic chemicals were the new seeds of life, made more likely by the discovery of numerous complex organic molecules in meteorites, comets, and interstellar molecular clouds. But the difficulties of synthesizing anything more complicated than amino acids in the wake of the famous Miller-Urey experiment in 1953 kept alive the idea that life itself may be spread throughout the universe. At the center of this work is Chandra Wickramasinghe, a research student of the maverick astronomer Fred Hoyle. In 1962 Hoyle became interested in the origin and nature of interstellar dust, in particular as found in dense molecular clouds, and he and Wickramasinghe set to work on the problem. They became convinced that dust could not form inside molecular clouds, but must have originated in the atmospheres of cool stars, protoplanetary discs, or supernova ejecta, a theory now widely accepted. It was the next steps that became increasingly controversial: that the spectroscopic signature of dust was best explained by complex biomolecules such as cellulose; that biomolecules were assembled into still more complex forms inside comets; and that the living cells and bacteria generated there were responsible for the origin of life on Earth. And not only that: Hoyle and Wickramasinghe argued that the delivery of bacteria from space continues, affecting both the origin and the ongoing evolution of life, and may even be responsible for certain diseases on Earth. These theories were not only reported in reputable scientific journals such as Nature, but also in popular books including Lifecloud (1978), Diseases from Space (1979), and Evolution from Space (1981). Biologists were not impressed; Lynn Margulis, not known for the timidity of her own theories such as endosymbiosis, called the first book “wanton, amusing, promiscuous fiction.”. (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)

The essays in this collection, many originally presented at a 2008 colloquium on Celtic Cosmology and the Power of Words, aim to examine the worldviews held by the Celtic peoples, particularly the Gaelic (Irish and Scottish) perspectives. Texts and inscriptions, some of them pre-Christian, in Celtic languages and in Celtic Latin provide the sources for the worldviews under study. This area of research is also linked to that of the power of words, which refers to human belief in powerful speech (...) acts. Naming and story-telling processes convey knowledge of the cosmos; this knowledge is connected to the landscape and its roads, rivers, mountains and hills. Cosmology is a description of the order and structure of the world as perceived by human beings, and its study is a study of layers – in the earth, in the language and in the tales. (shrink)

Philosophers who discuss the emotions have usually treated amusement as a non-emotional mental state. Two prominent philosophers making this claim are Henri Bergson and John Morreall, who maintain that amusement is too abstract and intellectual to qualify as an emotion. Here, the merit of this claim is assessed. Through recent work in neuroanatomy there is reason to doubt the legitimacy of dichotomies that separate emotion and the intellect. Findings suggest that the neuroanatomical structure of amusement is similar (...) to other commonly recognized emotion states. On the basis of these it is argued that amusement should be considered an emotion. (shrink)

May Amusement Serve as a Social Courage Engine? According to Fredrickson's "Broaden-and-Built Theory of Positive Emotions" positive emotions have different effects in social life and are based on different mechanisms than negative emotions do. Moreover positive emotions vary among themselves - there are quality differences between them and they shall not be treated only as a single positive mood. Three simple studies presented here and inspired by the Fredrickson's theory demonstrate that amusement, in comparison to neutral condition as (...) well as to another positive emotion, may serve as a social courage engine. Amused participants were more courageous in the radio as well as in the TV interview and declared more courage in case of meeting new hypothetical person. (shrink)

This edited volume of essays provides an interdisciplinary philosophical analysis of the Planet of the Apes franchise, addressing themes of intelligence, language, time travel, research ethics, and the evolving status of CGI characters. Through a range of essays, the volume examines how the apes’ society mirrors human civilization, challenging assumptions about intelligence, moral worth, and speciesism. Key themes include language as a criterion for intelligence, the ethics of experimentation, and the treatment of sentient beings.

Conceptual change can occur for a variety of reasons; some more scientifically significant than others. The 2006 definition of ‘planet’, which saw Pluto reclassified as a dwarf planet, is an example toward the more mundane end of the scale. I argue however that this case serves as a useful example of a related phenomenon, whereby what appears to be a single kind term conceals two or more distinct concepts with independent scientific utility. I examine the historical background to (...) this case, as a template for developing additional evidence for pluralist approaches to conceptual disputes within science and elsewhere. (shrink)

Context: The idea for this article sprang from a desire to revive a conversation with the late Ernst von Glasersfeld on the heuristic function - and epistemological status - of forms of ideations that resist linguistic or empirical scrutiny. A close look into the uses of humor seemed a thread worth pursuing, albeit tenuous, to further explore some of the controversies surrounding the evocative power of the imaginal and other oblique forms of knowing characteristic of creative individuals. Problem: People generally (...) respond to humor, i.e., they are inclined to smile at things they find funny. People like to crack jokes, make puns, and, starting at age two, human infants engage in pretense or fantasy play. Research on creativity, on the other hand, has mostly scorned the trickster within. Cognitivists in particular are quick to relegate wit, whimsy, and even playfulness to the ranks of artful or poetic frivolities. Method: We use the emblems of the craftsman, the trickster, and the poet to highlight some of the oblique ways of knowing by which creative thinkers bring forth new insights. Each epitomizes dimensions intrinsic to the art of “possibilizing.” Taken together, they help us better understand what it means to be playful beyond curious, rigorous beyond reasonable, and why this should matter, even to constructivists! Results: The musings characteristic of creative individuals speak to intelligent beings’ ability to use glitches intentionally or serendipitously as a means to open up possibilities; to hold on to a thought before spelling it out; and to resist treating words or images as conventional and arbitrary signs regardless of their evocative power. To fall into nominalism, Bachelard insisted, is a poet’s nightmare! Implications: Psyche is image, said Jung, and when we feel alive we rely on the imaginal to guide our reason. Note that image is not here to be understood as a picture in the head or a photographic snapshot of the world. The imaginal does not represent, it brings forth what we understand beyond words. It does not lock us into a single mode. Instead, it is a call to be mindful, in Ellen Langer’s sense: in the present, mentally alert, and on the outlook for our psyche’s own surprising wisdom (sagacity. Constructivist content: Debates on the heuristic function and epistemological status of oblique ways of knowing have long occupied constructivist scholars. I can only guess whether my uses of Jung’s imaginal or Bachelard’s anti-nominalism would have amused or exasperated Ernst! I do know that, on occasion, Ernst the connoisseur, bricoleur, and translator allowed the rationalist-within to include the poet’s power to evoke as a legitimate form of rationality. He himself has written about oblique knowing as legit! (shrink)

The main purpose of this article is to show some processes of the growth of knowledge. An astrophysical case: a problem of planets around pulsars formation is studied. In the first part reasons for taking this problem are presented. Then some historical facts about discoveries of planets around pulsars are mentioned. The paper focuses on three cases: PSR1257+12, PSR1620-26 and PSR J 1719-1438. In second part of the article the changes in the theoretical point of view, which occured during the (...) last twenty years, are presented. At the end the attempt is made to describe the process of the growth of the planets around pulsars within the framework of formation. (shrink)

Joel Marks discusses the philosophical aspects of a question recently in the news: is Pluto a planet, or not?

L'environnementalisme n'est pas à la hauteur des véritables défis qui menacent notre société. Philosophe des techniques, Dominique Bourg nous invite à reformuler notre rapport à la nature à l'échelle de la planète. Contre les rêveries romantiques et les fantasmes futuristes, il propose une véritable politique de la biosphère en accord avec l'écologie industrielle et le développement durable. Il aborde des thèmes aussi concrets que la pollution de l'air, les plantes transgéniques ou la nécessité d'évaluer les choix technologiques. Un vrai dialogue (...) d'éducation écologique qui va à l'essentiel. (shrink)

Keywords: extrasolar planets Hubble telescope occulter apodization life oxygen Published in the March-2007 issue of Analog Science Fiction & Fact Magazine ; This column was written and submitted 10/17/2006 and is copyrighted ©2006 by John G. Cramer. All rights reserved. No part may be reproduced in any form without the explicit permission of the author.

Essays explore philosophical themes in The Planet of the Apes films including human-animal relationships, science and ethics.

Designed for courses in environmental ethics, this reader is also an attractive supplement to contemporary moral issues or any applied ethics courses. It features readings in environmental ethics, including Paul Taylor's seminal essay The Ethics of Respect for Nature and works by Vice Preseident Al Gore, Jr. and J. Baird Callicott. Features: * Includes only readings of highest quality, chosen to be accessible to students who do not have an extensive knowledge of philosophy. * Exposes students to all major areas (...) of environmental ethics, including wilderness, pollution and animals. * Ideal length is appropriate as a core text or supplement to a variety of contemporary ethics courses. * Extensive bibliography provides a unique resource for research materials in this growing field. * Essays contain philosohical arguments as well as critique. * Presents an agenda of protection and stewardship that involves students in the management of our planets ecosystem. (shrink)

This book encourages readers to acknowledge humanity's contribution to the environmental crisis, proposing a way forward by exploring the power of ordinary people to bring about large-scale cultural change. Is it possible for humankind to change its ways and shed the belief that the planet is ours to do with as we like? Internationally acclaimed philosopher of education Jane Roland Martin argues that "humancentrism" is a learned affair, and what is learned can be unlearned. Turning to the past to (...) see how large-scale cultural change has occurred, she discovers a pattern in the achievements of such historical luminaries as Martin Luther, Mahatma Gandhi, Rosa Parks and Greta Thunberg that we too can follow. Drawing on history, philosophy, and literature as well as the natural and social sciences and hoping to mobilize readers to effective action, Martin employs an accessible and powerful rhetoric, with each chapter beginning with a scene from history written in dialogue form. This book calls on young and old to avert a looming tragedy of Aristotelian proportions--the demise of the "Mother Nature" that made it possible for our species to flourish. Thoroughly interdisciplinary in its approach, it will appeal to students and teachers as well as general readers interested in environmental studies, philosophy, and education. (shrink)

The 2006 decision by the International Astronomical Union to strip Pluto of its status as a planet generated considerable uproar not only in scientific circles, but among the lay public as well. After all, how can a vote by 424 scientists in a conference room in Prague undermine what every well-educated second grader knows is a scientific fact? The Pluto controversy provides a new and fertile ground in which to revisit the traditional philosophical problems of natural kinds and scientific (...) change. Before engaging these philosophical problems, however, there are two misguided reactions to the Pluto controversy worth dispelling from the start. The first misguided reaction is that this sort of classificatory .. (shrink)

‘The following sentence is true only if numbers exist: The number of planets is eight. It is true; hence, numbers exist.’ So runs a familiar argument for realism about mathematical objects. But this argument relies on a controversial semantic thesis: that ‘The number of planets’ and ‘eight’ are singular terms standing for the number eight, and the copula expresses identity. This is the ‘Fregean analysis’.I show that the Fregean analysis is false by providing an analysis of sentences such as that (...) best explains the available linguistic data, and according to which no terms in purport to stand for numbers. (shrink)

The detection of extrasolar planets presents a good case in which to clarify the distinction between observation and inference from evidence. By asking whether these planets have been observed or inferred from evidence, and by using the scientific details to answer the question, we will get a clearer understanding of the epistemic difference between these two forms of information. The issue of scientific realism pivots on this distinction, and the results of this case will help to articulate the epistemically important (...) factors in assessing theoretical claims.Keywords: Planetary systems; Scientific realism; Observation; Scientific method. (shrink)

W. V. Quine had, in Word and Object, drawn prominent attention to the opacity of the necessity operator, by comparing the sentences Necessarily 9 > 4and Necessarily the number of major planets > 4.Of these, Quine had said, “surely, on any plausible interpretation, is true and is false. Since 9 = the number of major planets, we can conclude that the position of ‘9’ in is not purely referential and hence that the necessity operator is opaque.” The puzzle has generated (...) a good deal of interest, particularly with an eye to the prospects of quantifying in modal contexts. But, given the substantial literature that has sprung up around the issue, it is rather easy to misunderstand the force of any challenge to Quine's account. (shrink)

For over half a century, scholars have laboured to show that C. S. Lewis's famed but apparently disorganised Chronicles of Narnia have an underlying symbolic coherence, pointing to such possible unifying themes as the seven sacraments, the seven deadly sins, and the seven books of Spenser's Faerie Queene. None of these explanations has won general acceptance and the structure of Narnia's symbolism has remained a mystery. -/- Michael Ward has finally solved the enigma. In Planet Narnia he demonstrates that (...) medieval cosmology, a subject which fascinated Lewis throughout his life, provides the imaginative key to the seven novels. Drawing on the whole range of Lewis's writings (including previously unpublished drafts of the Chronicles), Ward reveals how the Narnia stories were designed to express the characteristics of the seven medieval planets - - Jupiter, Mars, Sol, Luna, Mercury, Venus, and Saturn - - planets which Lewis described as "spiritual symbols of permanent value" and "especially worthwhile in our own generation". Using these seven symbols, Lewis secretly constructed the Chronicles so that in each book the plot-line, the ornamental details, and, most important, the portrayal of the Christ-figure of Aslan, all serve to communicate the governing planetary personality. The cosmological theme of each Chronicle is what Lewis called 'the kappa element in romance', the atmospheric essence of a story, everywhere present but nowhere explicit. The reader inhabits this atmosphere and thus imaginatively gains connaître knowledge of the spiritual character which the tale was created to embody. -/- Planet Narnia is a ground-breaking study that will provoke a major revaluation not only of the Chronicles, but of Lewis's whole literary and theological outlook. Ward uncovers a much subtler writer and thinker than has previously been recognized, whose central interests were hiddenness, immanence, and knowledge by acquaintance. (shrink)

I argue that genuine moral flaws never enhance amusement, but they sometimes detract.I argue against comic immoralism--the position that moral flaws can make attempts at humor more amusing.Two common errors have made immoralism look attractive.First, immoralists have confused outrageous content with genuine moral flaws.Second, immoralists have failed to see that it is not sufficient to show that a morally flawed joke is amusing; they need to show that a joke can be more amusing because of the fact that it (...) is morally flawed.I argue that the immoralist lacks a plausible account of how this could be the case.I reject immoralism and argue for comic moralism—the position that moral flaws can make attempts at humor less amusing. (shrink)

Our planet is sick and perhaps on a tipping point of extinction. The causes are well known—global warming, the collapse of the world economy, human greed, and thermonuclear war—to name but a few agents at work in the contemporary world. America and China hold the world's destiny in their grip. How they will interact is unknown. What is known is that both civilizations have in their traditions the ways and means to reverse this approaching apocalypse. Each country is now (...) passing through cultural explosions. This article searches classical Chinese and American philosophy for concepts and social forms that can give shape to this era of upheaval. I have confidence in the genius of Confucius as well as that of certain great classical American philosophers. Read together they can help us come to deal with both the decay of established orders and the overwhelming novelty now sweeping through our consciousness. (shrink)

"Interplanetary travel is very tempting and exciting because the sky is filled with unlimited globes of varying qualities. the desire to travel to other planets can be fulfilled by the process of yoga, which serves as a means by which one can transfer oneself to whatever planet one likes - possibly to planets where life is not only eternal and blissful but where there are multiple varieties of enjoyable energies. Anyone who can attain the freedom of the spiritual planets (...) need never return to this miserable land of birth, old age, disease and death." --Back cover. (shrink)

C’est en regardant le portrait aberrant de la planétarité reflétée sur le miroir des complotismes environnementaux que la difficulté collective d’assumer cette échelle écologique se dévoile impitoyablement. Un tel malaise n’est pas seulement lié à une incapacité humaine et individuelle d’accepter la complexité de la crise planétaire. Elle émane de l’ensemble des rapports socio-politiques (verticaux, élitistes) que nous entretenons avec les méditations techniques qui permettent la perception, mais aussi la réparation, de notre planète.

The untitled and anonymous text known by modern scholars under the name Wu xing zhan 'Prognostics of the Five Stars [sc. 'planets']', datable to before 168 bce, is the earliest known surviving Chinese document to give a substantive account of the apparent motions of the five visible planets, and to discuss the significance of those motions. The text includes tabulated predictions of the motions of three planets from 246 bce to 177 bce. In each case it is possible to reconstruct (...) simple rationales for the data given. It is however clear from the text that its primary purpose is to serve as an aid to celestial divination rather than as an attempt to discover laws of planetary motion for their own sake. The user of the text was not only expected to observe deviations from the rules underlying the tabulations given, but also actively to exploit such deviations as means of prognostication. (shrink)

This volume offers twelve original essays that explore the moral quagmire that is the emotion of amusement. It considers its moral psychology a range of perspectives, going as far back as ancient Chinese and Greek philosophy up to the most current psychological and sociological findings.

Geocentric Greek astronomers called seven heavenly bodies visible to the naked eye (sun, moon, Mercury, Venus, Mars, Jupiter, and Saturn) πλανητες—wanderers—because unlike all the other αστρα, their relative positions were constantly changing. While the Romans changed the Greek names of the individual planets to those still in use, they retained the generic name, which now occurs in many European languages. In acentric modern astronomy a planet is a satellite of a star. In addition to the five actual planets known (...) to the Greeks, Earth, Uranus, and Neptune also orbit the sun, a smallish star about half the distance from the centre of the Milky Way to its outer reaches. Earth is the only planet on which life is known for certain to exist. The search is on for concrete evidence of existing or formerly existing life on Mars (Dunbar B. et al. Perseverance Mars rover. NASA. https://www.nasa.gov/perseverance. Retrieved 06/16/2021, 2021). Technology for detecting the chemical signature of life in the atmospheres of some planets of other stars may become available in the near future (Fujii Y. et al. Astrobiology 18 (6): 739–778, 2018)—proving a point made by (Lovelock J. Gaia: A new look at life on earth. Oxford University Press, New York, 1979) that life is a whole-planet phenomenon. That is, the Earth does not just harbour or support life; it has a life of its own. The Earth is a living planet in relationship to which individual organisms are as ephemeral cells (Vernadsky VI. Am Sci 33:1–12, 1945). (shrink)

Some authors argue that we have a moral obligation to leave Mars the way it is, even if it does not harbour any life. This claim is usually based on an assumption that Mars has intrinsic value. The problem with this concept is that different authors use it differently. In this chapter, I investigate different ways in which an uninhabited Mars is said to have intrinsic value. First, I investigate whether the planet can have moral standing. I find that (...) this is not a plausible assumption. I then investigate different combinations of objective value and end value. I find that there is no way we can know whether an uninhabited Mars has objective end value and even if it does, this does not seem to imply any moral obligations on us. I then investigate whether an uninhabited Mars can have subjective end value. I conclude that this is very plausible. I also investigate whether an uninhabited Mars can have objective instrumental value in relation to some other, non-Mars related end value. I find also this very plausible. It is also highly plausible, however, that spreading life to a presently uninhabited Mars can also have subjective end value, as well as objective instrumental value. I mention shortly two ways of prioritising between these values: The utilitarian method of counting the number of sentient beings who entertain each value and determining the strength of the values to them. Finding a compromise that allows colonisation on parts of the planet while leaving other parts untouched. These methods should be seen as examples, not as an exhaustive list. Also, I do not take a definitive stand in favour of any of the two approaches, though it seems at least prima facie that the second approach may have a better chance of actually leading to a constructive result. (shrink)

Lars von Trierjeva Melanholija ponudi fascinantno raziskovanje filmske romantike in estetike filmskih razpoloženj. S pomočjo dramatizacije katastrofične izkušnje »izgube sveta« glavne junakinje Justine [Kirsten Dunst's], nam predstavi uničujočo podobo melanholije, ki najde ustrezni konec v sublimni filmski fantaziji izničenja sveta. V pričujočem članku analiziram nekatere estetske in filozofske sklope Melanholije, še posebej Von Trierjevo raziskovanje uporabe romantike in predstavitve filmskega razpoloženja. Von Trierer ne raziskuje namreč zgolj estetike melanholije, temveč tudi njene etične razsežnosti, s čimer ustvari umetniški film katastrofe, katerega (...) sublimna upodobitev uničenja sveta ima paradoksni učinek razkritja ranljivosti in končnosti življenja na Zemlji. (shrink)

In the words of Charles Peirce from 1901, “man is but a degenerate monkey, with a paranoic talent for self-satisfaction, no matter what scrapes he may get himself into, calling them ‘civilization…’” Peirce’s concept of degenerate monkey draws attention both to our neotenous or prolonged newborn-like nature as “degenerate” in the mathematical sense of a genetic falling away from more mature genomes of other primates, and also to our monkeying around with the long evolutionary narrative of foraging, through the advent (...) of agriculture, settlement, and civilization. -/- Homo sapiens, man the knower, is the way we humans like to distinguish ourselves from the rest of nature. But if we consider ourselves as degenerate monkeys, perhaps homo errans, man the blunderer, would have been a better term, calling attention to our softened instinctive intelligence, in contrast to the “unerring instincts of other races,” as Peirce put it. -/- I take Peirce’s term “degenerate monkey” as not limited to moderns, but applicable to homo sapiens sapiens, anatomically modern humans, generally. Considering humans as degenerate monkeys is a key to understanding human development, in my view, precisely because we need to attune ourselves to the instinctive intelligence of the environment, drawing its intelligence into our dematured, blundering selves through abductive inference, and therein finding our maturity. Without that attunement to the Others, monkey goes mad, monkeying in its mirror of itself, fatally fixated, like Narcissus, and with similar results: planet of the degenerate monkeys, monkeying to mayhem. -/- As Cornelius, the ape archaeologist and historian in The Planet of the Apes stated it, reading from the sacred scrolls: “Beware the beast Man, for he is the Devil's pawn. Alone among God's primates, he kills for sport or lust or greed. Yea, he will murder his brother to possess his brother's land. Let him not breed in great numbers, for he will make a desert of his home and yours. Shun him; drive him back into his jungle lair, for he is the harbinger of death.” Or as Ralph Waldo Emerson put it: “The end of the human race will be that it will eventually die of civilization.” . (shrink)

This article presents proposals for a new social settlement – a framework for deciding how people live together and what they expect from government, now and for the future. The proposed settlement has three goals: social justice, environmental sustainability, and a more equal distribution of power. To achieve these goals we have identified a set of objectives too often ignored in mainstream debates: achieving prosperity without depending on economic growth; shifting investment and action upstream to prevent harm rather than coping (...) with the consequences; strengthening the “core economy” of unpaid work, everyday wisdom, and social connections; and fostering solidarity and an understanding of how individuals depend on each other to achieve shared goals. The article draws on a report from the New Economics Foundation, which focuses on the United Kingdom but offers a framework for developing policy and practice that may be useful in other countries, especially in the developed world. (shrink)