I take a pragmatic approach to what interpreters do when they interpret and argue that critical pluralists have focused almost exclusively on one aspect of interpretation: the fact that it is an event taking place in a historical and cultural milieu that influences the many ways interpreters approach a given text. However, there is also in interpretation a pragmatic aspect: the fact that it is an act performed by individuals who, through the utterance of their statements, implicitly make claims, for (...) example, regarding the truth of their interpretation. In the first part I explain what critical pluralists overlook and the consequences of such oversight. In the second part I indicate how the validity of interpretation can be assessed. (shrink)

This article discusses the current legacy of Michel Foucault in relation to the current political situation. It is articulated in three parts. The first insists on the fact that Michel Foucault has been and still is significant for discussions concerning political sciences and international relations by the way he has discussed them and by his own academic politics. The second part highlights the key role of his attempt to define a dispositif of security in the 1977-78 lecture course ‘Security, Territory, (...) Population’ and the various interpretations given after his death. The third part introduces my own research on the subject and its development. Twenty years ago, I called this dispositif of security surveillance a ban-opticon dispositif. This is only partly relevant since the violence of the effects on individuals has been intensified by a multifocal construction of "suspects" by various transnational guilds of security professionals who systematise profiling and weak correlations as an alternative method of seeking the truth about causalities and facts attributed to an individual. Because of this systematicity of "suspicion first", which jeopardises the principle of innocence, I call this dispositif of security a transnational dispositif of suspicion-prediction, which is organised both as a rearticulation of the modern episteme with suspicion back at its core and as a "legitimate" one, thus allowing a "preventive" violence to be re-enacted in the name of scientific predictions of a future so deadly that it is necessary to act violently now in order to prevent even more violence. This question of inverted temporality, in which the imagined future dominates the present, leads to the belief that the future can already be known under a grammar of the future perfect. Combined with the strategic orientation of right-wing parties to abandon the celebration of the past in order to mobilise the fear of apocalyptic futures, this characteristic of the ‘future-perfect’ explains a series of contemporary developments in security and surveillance, reframing the attachment of the population to a new form of conservatism that captures the imagination of the future, including some contemporary discourses of war. Resisting this attraction to the future-perfect is possible by reinventing hope. (shrink)

In this essay, I review the concept of visioneering as I developed it and consider the ways in which other scholars have deployed it.

Can we live healthier, longer lives? Can we preserve our endangered environment and conserve our limited resources? In short, is Utopia possible? In this book, Williams outlines the unique system of logic that enabled him to retire a self-made millionaire at age 39, and shows how to apply this powerful system to the myriad social, economic, and political problems we face today.

There has long been a tension in Fredric Jameson’s work regarding the extent to which it is possible or warranted to develop transhistorical categories for literary interpretation across of the whole of the capitalist mode of production. In my contribution to this symposium, I take up the problem of how Jameson’s Allegory and Ideology participates in such questions in its consideration of periodisation and narrativisation through the particular construction of allegory, from the early modern age to our financial present.

In lieu of an abstract, here is a brief excerpt of the content:Past, Present—and Future Perfect?Taking Psychiatry Beyond Its Single Message MythologiesK. W. M. Fulford (bio)I am grateful to John Sadler and his colleagues for their generous invitation to contribute to this collection marking Philosophy, Psychiatry, & Psychology (PPP)'s thirtieth birthday. True to our editorial tradition of "no nonsense" publishing, the "ask" was a reflection on PPP's past, present and future, limited to 500 words. In fact, one word does it (...) for me—collegiality.Collegiality was our watch word from the start. I still treasure a group photo taken at an early pre-meeting of the Association for the Advancement of Philosophy and Psychiatry (AAPP) convened by Michael Schwartz at his home in 1992, when, among other initiatives, PPP was conceived through transferring our then-nascent journal proposal from a small British publishing house to its current international publisher, the Johns Hopkins University Press. Michael and I had met earlier by phone when he had called the Royal College of Psychiatrists in London to enquire about its recently launched Philosophy Group and (by mere chance) I happened to be standing next to the person who took the call! PPP, with John and myself its founder editors, was subsequently born as, and has remained, a joint venture between our two groups: and Peter Zachar's recent initiative in building closer links with the International Network for Philosophy and Psychiatry (INPP) has taken us an important step towards the vision shared by Michael, John and myself that PPP should grow to reflect and represent a global open society of philosophy and mental health.As a pointer to the future, this global open society was no mere utopian vision but a joint commitment to what we conceived as a necessary ambition. Contemporary disenchantment with the repeated failures of translation of current narrowly empirical models of psychiatry, points to the truth of our German colleague, Paul Hoff's, characterization of the history of psychiatry as a history of serial collapses into single message mythologies. This disenchantment might seem to offer an opportunity for colonial expansion of philosophy into psychiatry (a re-assertion, perhaps, of phenomenology?). But PPP was born out of the "decade of the brain" and has remained throughout an ally of, not competitor to, the neurosciences. [End Page 3] So, while it is true that, with Peter's initiative, and with editorial and other innovations introduced by John, PPP is actively extending its reach (to new areas of philosophy, and to new voices, informed notably by experience as well as by training), this expansion remains a collegial not colonial enlargement of the field. I need hardly point to the challenges presented by the inclusive ambitions of such enlargement (not least to maintaining the highest standards of editorial and peer review). But PPP's collegiality provides the foundation for the work needed to deliver on these challenges. Even if imperfectly realized, this collegiality will help to take us beyond the single message mythologies by which our discipline has too long been hobbled. [End Page 4]K. W. M. Fulford K.W.M. (Bill) Fulford is a Fellow of St Catherine's College and Member of the Philosophy Faculty, University of Oxford; Emeritus Professor of Philosophy and Mental Health, University of Warwick Medical School; and Founder Director of the Collaborating Centre for Values-based Practice, St Catherine's College, Oxford (valuesbasedpractice.org).Copyright © 2023 Johns Hopkins University Press... (shrink)

We live in an ageing society, where people are living longer, and where decreases in the birth rate mean that the proportion of the population above retirement age is steadily increasing. An ageing population has considerable implications for health services and care provision. Consequently there is a growing interest among researchers, medical practitioners, and policy makers in older adults, their capabilities, and the changes in their cognitive functioning. This book offers an up-to-the-minute account of the latest methodological and theoretical issues (...) in cognitive ageing. Part of the Debates in Psychology series, it sets out the arguments surrounding the currently controversial questions in cognitive ageing. What is the appropriate methodology for understanding cognitive change? How many factors are necessary to understand the patterns of age-related change? What might these factors be? The topics and arguments are explored in a series of chapters by the leading researchers in the field. Each contributor offers their view of how cognitive ageing can be best understood, and together they cover a broad range of cognitive functions including language use, cognitive slowing, and memory loss. Each of the chapters stands alone as the latest review of work in the area. Taken together, the chapters form a coherent theoretical debate through which the reader will learn about the dynamic nature of cognitive ageing research, and about the direction this research will be taking in the future. Models of Cognitive Aging will be an invaluable resource for anyone with an interest in the elderly, and in their cognitive abilities. (shrink)

As the first full-length book dedicated to the philosophical legacy of Hans Jonas, The Integrity of Thinking is largely dedicated to summarizing and integrating the diverse phases in Jonas’ lifework. But the book has another, more ambitious goal. David Levy attempts to demonstrate that Hans Jonas is, for matters of public policy, nothing less than the most important philosopher of the twentieth century. This alleged importance stems from his unique philosophical achievements and their manifold practical applications. According to Levy, Jonas’ (...) massive future importance will not be constrained to philosophy. Levy makes a series of admittedly “bold claims” regarding Jonas’ significance, culminating in the claim that he is “perhaps the pre-eminent practical thinker of our time”. This is excessive praise for a thinker who is still a relatively minor figure in twentieth-century philosophy, and who is still somewhat unknown by non-specialists outside his native Germany. Yet Levy hopes that the heightened public awareness of tensions between technology and ethics will create an audience for the thinker who has most successfully probed the origins of those tensions. Levy wishes to disseminate Jonas’ practical importance to a wider audience. But does Jonas merit these excessive claims, and therefore a wider audience? (shrink)

It is sometimes argued that the fact that possession of perfect knowledge about the future is impossible, means that it is impossible for decisions to be rational. This reasoning is fallacious. If rationality is given a new interpretation, then decisions can be considered rational. A theory of decision that has as its basis Peirce’s theory of abduction can provide a new way of understanding decisions as rational processes. The Peircean theory of decision (i) considers decisions as part of a complete (...) strategy, and (ii) shows that decision making is governed by the same rules as scientific abduction. These rules are neither permissive rules like rules of deductive inference nor predictive like laws of nature, but rather genuine laws of conduct that determine what step should be made, if a given end is to be reached. (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)

By scientiometrically analyzing the physics-literature produced between 1925 and 1933 it is shown that the purely quantitative contribution of physicists subsequently emigrating from Germany to the literature produced by the physics community in this country was much lower than hitherto estimated. The actual figure is not in the range of 30%, as is generally assumed, but much nearer to 11%. Control analysis of three leading German physics journals and of memberships in the Deutsche Physikalische Gesellschaft confirms this result. Further investigation (...) of university calendars shows that transferring these results to purely academic physics would amount to committing a “universalistic fallacy”. In academic physics emigré-physicists held a total of 15,5% of all teaching postitions.Differentiating the physics literature into various specialties allows further insights into the cognitive and social structure of the German physics community before 1933. Works of emigré-physicists are not randomly distributed over specialities; instead, the distribution reveals a nearly perfect correlation with what could be called “the specialty's paradigmatic age”. The spectrum begins with quantum theory, where future emigrants produced more than 25% of the literature, and fades away with acoustics, where their contribution amounts to less than 4%. The commonly accepted explanation of this phenomenon, which is based on the assumption that time of institutionalization of a specialty, “prestige” of that specialty, and entrance barriers for Jewish scientists are correlated, is falsified by two cases of non- or zero-correlation: by the very old specialties and by the technical disciplines. A new explanans is proposed which is based on the hypothesis of cognitive and social marginality being correlated and on a certain amount of cognitive marginality enhancing the disposition to innovative behavior and creativity. (shrink)

Prenatal and preimplantation testing technologies have offered unprecedented access to information about the genetic and congenital makeup of our prospective progeny. Future developments such as preconception testing, non-intrusive prenatal testing and more extensive preimplantation testing promise to increase that access further still. The result may be greater reproductive choice, but it also increases the burden on women and men to avail themselves of these technologies in order to avoid having a child with a disability. The overwhelming question for legislators has (...) been whether and, if so, how to regulate the use of these technologies in the face of compelling but seemingly contradictory claims about the advancement of reproductive choice and the dangers of eugenic or discriminatory effects. This book examines the evolution of this legislative oversight across a number of jurisdictions and explores the tensions and ambiguities that inform these laws. (shrink)

Applying basic concepts of Logic-Based Therapy (LBT), this paper addresses the author’s own struggle with demanding perfection, and seeks to provide a model for others to emulate.

Humans have always imagined better futures. From the desire to overcome death to the aspiration to dominion over the world, imaginations of the technological future reveal the commitments, values, and norms of those who construct them. Today, the human future is thrown into question by emerging technologies that promise radical control over human life and elicit corollary imaginations of human perfectibility. This interdisciplinary volume assembles scholars of science and technology studies, sociology, philosophy, theology, ethics, and history to examine imaginations of (...) technological progress that promises to transcend the constraints of human body and being. Attending in particular to transhumanist and posthumanist visions, the volume breaks new ground by exploring their utopian and eschatological dimensions and situating them within a broader context of ideas, institutions, and practices of innovation. The volume invites specialists and general readers to explore the stakes of contemporary imaginations of technological innovation as a source of progress, a force of social and historical transformation, and as the defining essence of human life. Contents Technological Imaginations.- Ethics and Politics of Envisioned Futures.- The Transhumanist Imagination in Context. Target Groups Scholars and students in science and technology studies, philosophy, utopian studies, science and religion The Editors Hava Tirosh-Samuelson is Irving and Miriam Lowe Professor of Modern Judaism and Director of the Center of Jewish Studies at Arizona State University in Tempe, Arizona. J. Benjamin Hurlbut is Assistant Professor of Bioscience Ethics in the School of Life Sciences at Arizona State University. (shrink)

We examined how language supports the expression of temporality within sentence boundaries in English, which has a rich inventory of grammatical means to express temporality. Using a computational model that mimics how humans learn from exposure we explored what the use of different tense and aspect combinations reveals about the interaction between our experience of time and the cognitive demands that talking about time puts on the language user. Our model was trained on n-grams extracted from the BNC to select (...) the TA combination that fits the context best. It revealed the existence of two different sub-systems within the set of TA combinations, a “simplex” one that is supported lexically and is easy to learn, and a “complex” one that is supported contextually and is hard to learn. The finding that some TA combinations are essentially lexical in nature necessitates a rethink of tense and aspect as grammatical categories that form the axes of the temporal system. We argue that the system of temporal reference may be more fruitfully thought of as the result of learning a system that is steeped in experience and organised along a number of functional principles. (shrink)

In this paper, I characterize Susan Haack’s so called passes-for fallacy, analyze both what makes this inference compelling and why it is illegitimate, and finally explain why reflecting on the passes-for fallacy—and others like it—should become part of critical thinking pedagogy for humanities students. The analysis proceeds by examining a case of the passes-for fallacy identified by Haack in the work of Ruth Bleier. A charitable reconstruction of Bleier’s reasoning shows that it is enlightening to regard the (...) passes-for fallacy as an abuse of the application conditions of the concept of bias, rather than as an egregious case of Hasty Generalization. (shrink)

FOR MANY YEARS the received wisdom--proclaimed by certain physicists and philosophers of physics and received by certain metaphysicians--was that, in Bertrand Russell's inimitable phrase, "time is an unimportant and superficial characteristic of reality. Past and future must be acknowledged to be as real as the present." Moreover, according to Russell, "it is a mere accident that we have no memory of the future"--presumably because the future, regarded as no less determinate than the past, is held to be equally "there" to (...) be known and hence "remembered.". (shrink)

An intellectual and cultural movement advocating a radical enhancement of human performance via technoscientific and biomedical advances, transhumanism has grown in notoriety in recent years. Grouping engineers, philosophers, sociologists, and entrepreneurs, the movement and its ideals of enhanced humans have a strong social resonance, be it doping in sport, the use of smart drugs, or the biomedical battle against aging. This article sheds theoretical and critical light on transhumanism through the lens of human perfectibility. It particularly aims to show how (...) the movement marks a significant reversal of the humanist conception of human perfectibility inherited from the Enlightenment. Far from working for the social and political emancipation of humans and the human condition, transhumanism is emblematic of a depoliticized conception of human perfectibility focused on the technoscientific adaptation of the human being. Transhumanism thus marks a major rupture with the modern democratic project of autonomy. (shrink)

When used next to a predicate at the extreme of a scale such as perfect, the exclusive modifiers just and simply convey a distinctive intensifying effect, presenting a puzzle for theories of exclusivity and alternative-based meanings more broadly. In this article, I develop an analysis of these modifiers as a special kind of alternative-targeting operator, whereby the speaker signals that more specific descriptions than the one they just asserted—modeled here as granularity-based alternatives—are not assertion-worthy in the context—i.e., they need not (...) be asserted in order for a complete representation of the facts to be provided. On this analysis, the intensifying effect of these modifiers are derived from the interaction of exclusivity, granularity, and the distinctive semantic properties of predicates denoting the extreme of a scalar extreme. More broadly, the proposal affords a jumping-off point for further work exploring the interaction between scalarity and exclusive operators, highlighting a number of intriguing lines of future research across semantics and pragmatics. (shrink)

In this work, we treat the interpretation of tense in adjunct clauses in English and Russian (relative clauses, before/after/when-clauses) with a future matrix verb. The main findings of our paper are the following: 1. English has a simultaneous reading in Present adjuncts embedded under will. Russian Present adjuncts under budet or the synthetic perfective future can only have a deictic interpretation. This follows from our SOT parameter. 2. The syntax of Russian temporal adjunct clauses (do/posle togo kak…) shows overt parts (...) that had to be stipulated for English as covert in earlier papers. We present a neat and straightforward analysis of Russian temporal adjuncts. Contrary to Russian, English has Present under Future in before-clauses. It would be nice to relate this feature to the SOT parameter, but the construction seems to be an idiosyncrasy in the domain of subordinate tense. (shrink)

In this book, after discussing the fundamental problems of current science and other philosophic concepts, beginning with controversies between Heraclitus and Parmenides, Ilya Prigogine launches into a message of great hope: the future has not been determined. Contrary to globalisation and the apparent contemporary mass culture society, individual behaviour is beginning to increasingly become the key factor which governs the evolution of both the world and society as a whole. It is a message that challenges existing widespread views, implicitly or (...) explicitly, through mass communication, moreover the importance of the individual's actions implies a reflection of each person on the responsibilities that each one assumes when taking or acting upon a decision. This responsibility is associated with the freedom of thought as well as a critical analysis of fashions, customs, preconceived ideas, and ideologies, externally imposed: exactly contrary to the ideas of those who wish us to be "perfect consumers" in a world dominated only by monetary wealth. Challenging this drive towards the elimination of freedom of though in the individual is now imperative if we are to save man and his planet from catastrophe which seems to be ever imminent and (unfortunately) irreversible. This last book of Ilya Prigogine provides a small, disputable, but nonetheless valuable contribution towards that end. (shrink)

Since Peter Geach coined the phrase in 1966 there has been much discussion among scholars of the "Socratic fallacy." No consensus presently exists on whether Socrates commits the "Socratic fallacy"; almost all scholars agree, however, that the "Socratic fallacy" is a bad thing and that Socrates has good reason to avoid it. I think that this consensus of scholars is mistaken. I think that what Geach has labeled a fallacy is no fallacy at all, but (...) a perfectly innocent consequence of Platonic epistemology. The "Socratic fallacy" arises from the "Priority of Definition" principle (PD). Plato is committed to (PD) in the Meno. The Meno also contains a famous discussion of the difference between episteme and doxa (97a ff.). If we understand what Plato meant by episteme we can see that he must be committed to (PD); but we can also see that (PD) has none of the harmful consequences Geach attributes to it. Geach's view is indebted to Wittgenstein's philosophy of language. (PD) is implausible on this reading of the verb "to know," but not on Plato's. Plato claims that a demand for an explanation is appropriate wherever a claim to knowledge is made. Plato links the concept of episteme explicitly with the concept of logos; the connection between the terms may have been analytic. It does not follow from the Platonic conception of knowledge, as Geach argues, that it is "no use" using examples to establish general definitions. All that follows is that one cannot know that an alleged example of a term T is a genuine example until one has a general account of what it is to be T. Without the stronger conclusion, Geach cannot establish that the "Socratic fallacy" is a fallacy. (shrink)

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

(1990). Perfecting the machine: Instrumental rationality and the bureaucratic ideologies of the state. World Futures: Vol. 28, Cross-Cultural Dialogue, pp. 141-161.

Discussions of genetic enhancements often imply deep suspicions about human desires to manipulate or enhance the course of our future. These unspoken assumptions about the arrogance of the quest for perfection are at odds with the normally hopeful resonancy we find in contemporary theology. The author argues that these fears, suspicions and accusations are misplaced. The problem lies not with the question of whether we should pursue perfection, but rather what perfection we are pursuing. The author argues that perfection, properly (...) understood, has an enormously positive function in the Roman Catholic tradition. The author examines three sources: the Scriptures, the scholastic tradition, and ascetical theology. He examines contemporary criticisms of perfectionism and suggests that an adequate virtue theory keeps us from engaging perfectionism as such. The author then shows how a positive, responsible view of perfection is an asset to our discussion on enhancement technology. (shrink)

This chapter deals with one of the common fallacies in Western philosophy called 'the gambler's fallacy (GF)'. GF is committed in the context of random, unconnected events. When (by chance) a certain outcome occurs very often in one period of time, the fallacious reasoner assumes that the opposite outcome will be more likely to occur in the future to “even out” the results. As with most fallacies, GF is prevalent because it is similar to a kind of good reasoning. (...) This chapter considers a case of flipping coin to understand this concept. GF covers situations where the results are based on chance. In a game of skill, for example, a streak may indicate the superiority of one player or team or it may cause the other players to adjust their strategy to stop the currently successful run. (shrink)

Bennett and Schumacher’s postselected quantum teleportation is a model of closed timelike curves (CTCs) that leads to results physically different from Deutsch’s model. We show that even a single qubit passing through a postselected CTC (P-CTC) is sufficient to do any postselected quantum measurement with certainty, and we discuss an important difference between “Deutschian” CTCs (D-CTCs) and P-CTCs in which the future existence of a P-CTC might affect the present outcome of an experiment. Then, based on a suggestion of Bennett (...) and Smith, we explicitly show how a party assisted by P-CTCs can distinguish a set of linearly independent quantum states, and we prove that it is not possible for such a party to distinguish a set of linearly dependent states. The power of P-CTCs is thus weaker than that of D-CTCs because the Holevo bound still applies to circuits using them, regardless of their ability to conspire in violating the uncertainty principle. We then discuss how different notions of a quantum mixture that are indistinguishable in linear quantum mechanics lead to dramatically differing conclusions in a nonlinear quantum mechanics involving P-CTCs. Finally, we give explicit circuit constructions that can efficiently factor integers, efficiently solve any decision problem in the intersection of NP and coNP, and probabilistically solve any decision problem in NP. These circuits accomplish these tasks with just one qubit traveling back in time, and they exploit the ability of postselected closed timelike curves to create grandfather paradoxes for invalid answers. (shrink)

At least since Aristotle’s famous 'sea-battle' passages in On Interpretation 9, some substantial minority of philosophers has been attracted to the doctrine of the open future--the doctrine that future contingent statements are not true. But, prima facie, such views seem inconsistent with the following intuition: if something has happened, then (looking back) it was the case that it would happen. How can it be that, looking forwards, it isn’t true that there will be a sea battle, while also being true (...) that, looking backwards, it was the case that there would be a sea battle? This tension forms, in large part, what might be called the problem of future contingents. A dominant trend in temporal logic and semantic theorizing about future contingents seeks to validate both intuitions. Theorists in this tradition--including some interpretations of Aristotle, but paradigmatically, Thomason (1970), as well as more recent developments in Belnap, et. al (2001) and MacFarlane (2003, 2014)--have argued that the apparent tension between the intuitions is in fact merely apparent. In short, such theorists seek to maintain both of the following two theses: (i) the open future: Future contingents are not true, and (ii) retro-closure: From the fact that something is true, it follows that it was the case that it would be true. It is well-known that reflection on the problem of future contingents has in many ways been inspired by importantly parallel issues regarding divine foreknowledge and indeterminism. In this paper, we take up this perspective, and ask what accepting both the open future and retro-closure predicts about omniscience. When we theorize about a perfect knower, we are theorizing about what an ideal agent ought to believe. Our contention is that there isn’t an acceptable view of ideally rational belief given the assumptions of the open future and retro-closure, and thus this casts doubt on the conjunction of those assumptions. (shrink)

Introduction -- Fallacy # 1, you can never be sure -- Fallacy # 2, "there is no truth" -- Fallacy # 3, there are no absolutes -- Fallacy # 4, there is only physical-experiential reality -- Fallacy # 5, philosophy is boring : I should know, I tried it once -- Fallacy # 6, God does not exist -- Fallacy # 7, isn't it a contradiction to say "God is good" when we see (...) so much evil in the world, I mean with so many wars, famines, plagues, and whale hunting and everything? -- Fallacy # 8, if God knows all things, even the future, then we are not free -- Fallacy # 9, if God is all-powerful can He make a "PB&J" so big he couldn't eat it in one bite? -- Fallacy # 10, man has no human nature -- Fallacy # 11, my body belongs to me! -- Fallacy # 12, the human person is a spiritual person and since spirits are neither female and male, our sexual distinctions are merely social constructs -- Fallacy # 13, I'm free to do whatever I want -- Fallacy # 14, don't force your ethics down my throat! -- Fallacy # 15, you just admitted that there is a lot of divergence of opinon as to how we should act : therefore, there can be no universally binding law to govern us -- Fallacy # 16, I know he shouldn't do that, but he's a good guy -- Fallacy # 17, if it feels good, do it -- Fallacy # 18, ...yeah, but it's my right! -- Fallacy # 19, I vas just followink orders -- Fallacy # 20, ethics are a personal matter, so what I do is my own business! -- Fallacy # 21, it doesn't matter if two consenting adults are married or not, what counts is their sincerity -- Fallacy # 22, the traditional family structure is arbitrary : actually there are many other valid expressions of this same reality -- Fallacy # 23, I learned at my university that monogamy is an out-dated social structure imposed on us by a Judeo-Christian culture! -- Fallacy # 24, no one's going to tell me how many children I going to have! -- Fallacy # 25, I can do whatever makes me happy! (shrink)

At a time when global warming due to greenhouse gas emissions pose a present and clear threat to the environment, the Nuclear Energy Industry is gearing up to provide a solution to this problem, trading upon a number of fallacies to argue that it neither makes, nor will in future make, any significant contribution to these or to other radiation-linked diseases. This paper exposes these fallacies and argues, to the contrary, that even should the industry be able to avoid all (...) accidents, routine radioactive emissions to the environment during power production and fuel reprocessing threaten to destroy all human life on the planet. Dr. Glynn is a Full Professor of Philosophy at Florida Atlantic University, having earned his doctorate at The University of Manchester, England. His many publications include Continental and Postmodern Perspectives in the Philosophy of Science, eds. Babette Babich, Debra Bergoffen and Simon Glynn, (Vermont: Avebury, 1995). This paper was presented at the Comparative Studies Association 2008 Conference: Interdisciplinarity and Environmental Sustainability. (shrink)

It has been said that there is no scholarly consensus as to why Aristotle’s logics of proof and refutation would have borne the title _Analytics._ But if we consulted Tarski’s (Introduction to logic and the methodology of deductive sciences, Oxford University Press, New York, 1941) graduate-level primer, we would have the perfect title for them: _Introduction to logic and to the methodology of deductive sciences._ There are two strings to Aristotle’s bow. The methodological string is the founding work on the (...) epistemology of science, and the logical string sets down conditions on the proofs that bring this knowledge about. The logic of proof presents a difficulty whose solution exceeds its theoretical reach. The logic of refutation takes the problem on board, and advances a solution whose execution is framed by fallacy-avoidance at the beginning and fallacy-adoption at the end. But with a difference: the avoidance-fallacies are of Aristotle’s own conception, whereas the adoption-fallacies, so judged in the modern tradition, aren’t fallacies at all for Aristotle. The avoidance-fallacies are begging the question and _ignoratio elenchi_, and the adoption-fallacies, fallacies in name only, are the _ad hominem_ and _ad ignorantiam_, an inductive turning in the first instance, and an abductive finish in the second. (shrink)

There are three main intersections between transhumanism and the future of work, related to the different meanings of transhumanism: 1. the radical meaning of the transformation of the human condition towards perfection beyond humanity conceived as a limitation ) in the context of the devaluation of the human being1: towards perfection «beyond» the human range in the workplace; 2. the intermediate meaning of enhancement as the quantitative and qualitative increase of human capacities 2: towards perfection «in» humans in the workplace; (...) 3. the use of emerging technologies 3 in order to enhance «human work». (shrink)

Business and Economic textbooks warn against committing the Sunk Cost Fallacy: you, rationally, shouldn't let unrecoverable costs influence your current decisions. In this paper, I argue that this isn't, in general, correct. Sometimes it's perfectly reasonable to wish to carry on with a project because of the resources you've already sunk into it. The reason? Given that we're social creatures, it's not unreasonable to care about wanting to act in such a way so that a plausible story can be (...) told about you according to which your diachronic behavior doesn't reveal that you've suffered, what I will call, diachronic misfortune. Acting so as to hide that you've suffered diachronic misfortune involves striving to make yourself easily understood while disguising any shortcomings that might damage your reputation as a desirable teammate. And making yourself easily understood to others while hiding your flaws will, sometimes, put pressure on you to honor sunk costs. (shrink)

I critically examine the claim that modal collapse arguments against the traditional doctrine of divine simplicity (DDS) are in general fallacious. In a recent paper, Christopher Tomaszewski alleges that modal collapse arguments against DDS are invalid, owing to illicit substitutions of nonrigid singular terms into intensional contexts. I show that this is not, in general, the case. I show, further, that where existing modal collapse arguments are vulnerable to this charge the arguments can be repaired without any apparent dialectical impropriety. (...) I conclude that the genuine debate over modal collapse and divine simplicity and modal collapse is substantially a controversy over the metaphysics of divine action, and that this constitutes a fruitful direction in which to take future discussions of the subject. (shrink)

This article explores the notion of ‘perfect’ money that Simmel introduces in The Philosophy of Money. Its aim is twofold: first, to connect this idea to his more general arguments about the nature of society and the ambivalence of modernity, and, second, to assess its relevance for contemporary debates about the future of money, especially following the global financial crisis. I argue that Simmel’s concept of perfect money can be understood as utopian in two senses, conceptual and ethical, that correspond (...) to the two interpretations he develops, in Soziologie, of the idea of a perfect society. This sheds light on an aspect of Simmel’s writings that has attracted relatively little attention, namely his views on the relationship between money and socialism. Characterizing this relationship as a ‘formal affinity’, his remarks resonate with a long tradition of thought on monetary utopias that aim not for the abolition of money but its radical transformation as a means of improving society. This tradition is coming to the fore once again today, as the financial crisis has given new impetus to constructing forms of money – for example, LETS, Time Dollars, mutual credit, peer-to-peer lending and digital currencies such as Bitcoin – that provide viable alternatives to big banks. Understood in conjunction with his account of the ‘tragedy’ of individualism in modernity, such resonances demonstrate the enduring relevance of Simmel’s work to the empirical and theoretical investigation of money. (shrink)