By justification we understand what makes a belief epistemologically viable: generally this is considered knowledge that is true. The problem is defining this with a higher degree of precision because this is where different conflicting conceptions appear. On the one hand, we can understand justification as what makes it reasonable to acquire or maintain a belief; on the other, it is what increases the probability that the belief is true. This work tries to prove that beliefs depend on other beliefs (...) that are epistemically justified and that such beliefs are the result of (i.e., they arise from) our privileged intuition of reality. For this, we examine the concept of epistemic regress. Epistemic reasons authorize a proposition P to be the conclusion of an argument in which such reasons function as premises and are vulnerable to epistemic regress. The three most important approaches to epistemic regress are Infinitism, Coherentism and Foundationalism. (shrink)

Human language has the characteristic of being open and in some cases polysemic. The word “infinite” is used often in common speech and more frequently in literary language, but rarely with its precise meaning. In this way the concepts can be used in a vague way but an argument can still be structured so that the central idea is understood and is shared with to the partners. At the same time no precise definition is given to the concepts used and (...) each partner makes his own reading of the text based on previous experience and cultural background. In a language dictionary the first meaning of “infinite” agrees with the etymology: what has no end. We apply the word infinite most often and incorrectly as a synonym for “very large” or something that we do not perceive its completion. In this context, the infinite mentioned in dictionaries refers to the idea or notion of the “immeasurably large” although this is open to what the individual’s means by “immeasurably great.” Based on this linguistic imprecision, the authors present a non Cantorian theory of the potential and actual infinite. For this we have introduced a new concept: the homogon that is the whole set that does not fall within the definition of sets established by Cantor. (shrink)

The liar paradox is a famous and ancient paradox related to logic and philosophy. It shows it is perfectly possible to construct sentences that are correct grammatically and semantically but that cannot be true or false in the traditional sense. In this paper the authors show four approaches to interpreting paradoxes that illustrate the influence of: the levels of language, their belonging to indeterminate compatible propositions or indeterminate propositions, being based on universal antinomy and the theory of dialetheism.

Plagiarism is a serious, yet widespread type of research misconduct, and is often neglected in developing countries. Despite its far-reaching implications, plagiarism is poorly acknowledged and discussed in the academic setting, and insufficient evidence exists in Latin America and developing countries to inform the development of preventive strategies. In this context, we present a longitudinal case study of seven instances of plagiarism and cheating arising in four consecutive classes of an Epidemiology Masters program in Lima, Peru, and describes the implementation (...) and outcomes of a multifaceted, “zero-tolerance” policy aimed at introducing research integrity. Two cases involved cheating in graded assignments, and five cases correspond to plagiarism in the thesis protocol. Cases revealed poor awareness of high tolerance to plagiarism, poor academic performance, and widespread writing deficiencies, compensated with patchwriting and copy-pasting. Depending on the events’ severity, penalties included course failure and separation from the program. Students at fault did not engage in further plagiarism. Between 2011 and 2013, the Masters program sequentially introduced a preventive policy consisting of: intensified research integrity and scientific writing education, a stepwise, cumulative writing process; honor codes; active search for plagiarism in all academic products; and a “zero-tolerance” policy in response to documented cases. No cases were detected in 2014. In conclusion, plagiarism seems to be widespread in resource-limited settings and a greater response with educational and zero-tolerance components is needed to prevent it. (shrink)

Health Wearable Devices enhance the quality of life, promote positive lifestyle changes and save time and money in medical appointments. However, Wearable Devices store large amounts of personal information that is accessed by third parties without user consent. This creates ethical issues regarding privacy, security and informed consent. This paper aims to demonstrate users’ ethical perceptions of the use of Wearable Devices in the health sector. The impact of ethics is determined by an online survey which was conducted from patients (...) and users with random female and male division. Results from this survey demonstrate that Wearable Device users are highly concerned regarding privacy issues and consider informed consent as “very important” when sharing information with third parties. However, users do not appear to relate privacy issues with informed consent. Additionally, users expressed the need for having shorter privacy policies that are easier to read, a more understandable informed consent form that involves regulatory authorities and there should be legal consequences the violation or misuse of health information provided to Wearable Devices. The survey results present an ethical framework that will enhance the ethical development of Wearable Technology. (shrink)

This paper is devoted to the study of some subvarieties of the variety Qof Q-Heyting algebras, that is, Heyting algebras with a quantifier. In particular, a deeper investigation is carried out in the variety Q 3 of three-valued Q-Heyting algebras to show that the structure of the lattice of subvarieties of Qis far more complicated that the lattice of subvarieties of Heyting algebras. We determine the simple and subdirectly irreducible algebras in Q 3 and we construct the lattice of subvarieties (...) (Q 3 ) of the variety Q 3. (shrink)

This paper is devoted to the study of some subvarieties of the variety Q of Q-Heyting algebras, that is, Heyting algebras with a quantifier. In particular, a deeper investigation is carried out in the variety Q subscript 3 of three-valued Q-Heyting algebras to show that the structure of the lattice of subvarieties of Q is far more complicated that the lattice of subvarieties of Heyting algebras. We determine the simple and subdirectly irreducible algebras in Q subscript 3 and we construct (...) the lattice of subvarieties lambda (Q subscript 3) of the variety Q subscript 3. (shrink)

Abstrak: Filsafat telah memiliki perjalanan panjang dalam hubungannya dengan Kristianitas. Sumbangan filsafat untuk Kristianitas begitu banyak terutama dalam kaitannya dengan teologi. Tulisan ini meneliti soal integrasi filsafat dalam Kristianitas yang selama ini sering diperdebatkan. Periode apologi yang dimulai pada awal abad kedua sampai dengan pertengahan abad ketiga Masehi, memberikan suatu penjelasan konkrit untuk permasalahan ini. Melalui para apologet, yang sebelumnya adalah filsuf, bahkan mampu melangkah lebih jauh dalam penemuan kebijaksanaan yang sesungguhnya yang merupakan obyek dan tujuan filsafat. Bahkan (...) mereka sampai pada suatu pemikiran bahwa filsafat adalah ranah semai yang mempersiapkan filsafat yang sesungguhnya, yaitu Kristianitas. Berkat para apologet, filsafat menjadi bagian penting dalam Kristianitas, bukan saja di bidang teologi, tetapi juga di dalam ranah eksegese, hermeneutika dan terlebih-lebih di dalam hidup. Penulis Kristiani setelah periode apologi mengintegrasikan filsafat dalam tulisan dan di dalam rumusan iman. Berbagai terminologi filosofis yang diintegrasikan ke Kristianitas belum tergantikan sampai dengan saat ini. Kata-kata Kunci: Filsafat, filsuf, teologi, apologi, apologet, kebijaksanaan. Abstract: Philosophy is having a long journey in its relationship with Christianity. There is much influence of philosophy on Christian thinking, but especially on theology. This article researches the integrity of philosophy within Christianity, an integral relationship which has always been debated. During the period of the Apologies, which was begun at the beginning of the second century up to the middle of the third century, an important concrete solution to this debate was given. Through the Apology Fathers of the Church who previously were philosophers, had the capacity to go farther in finding real wisdom, which is the subject and the goal of all research in philosophy. They were able to reach a consideration that their philosophy was a field seed which had prepared for the real philosophy, which is Christianity. Through the apologies, philosophy created an important partnership with Christianity in the areas of theology and biblical exegeses, and even in hermeneutics and way of life. After the period of the Apology Fathers, Christian writers integrated philosophy in a certain way into their writings, even as a formula of faith. And some philosophical terminology, which was integrated into Christianity, could not be replaced after this time. Keywords: Philosophy, philosopher, theology, apology, apolog, virtue. (shrink)

Pada 11 Oktober 2012 Gereja Katolik merayakan 50 tahun dibukanya Konsili Vatikan II. Namun demikian, 16 dokumen yang dihasilkan selama Konsili itu berlangsung (11 Oktober 1962-7 Desember 1965) belum dikenal oleh semua umat Katolik. Bahkan ada tidak sedikit umat Katolik yang belum pernah melihat dokumen-dokumen tersebut. Ada pula yang mengatakan bahwa kendati sudah membacanya, namun merasakan sangat sulit untuk memahaminya. Ada pula yang ketika melihat buku tebal yang memuat dokumen-dokumen tersebut langsung merasa terintimidasi dan ketakutan (intimadated), lalu tidak berani membukanya. (...) Sudah ada berbagai macam upaya untuk menyampaikan isi dan semangat dari Konsili Vatikan II kepada seluruh anggota Gereja Katolik. Salah satu cara adalah menerbitkan buku untuk mengulas isi dokumen-dokumen tersebut. Salah satu dari sekian banyak buku yang pantas dibaca adalah karya Maureen Sulivan, seorang assistant professor ilmu Teologi di Saint Anselm College, Manchester, New Hapshire, Amerika Serikat. Buku yang ditulis dalam bentuk tanya jawab ini dibagi menjadi 9 bab. Bab 1 berbicara mengenai “Pengumuman” diadakannya Konsili yang menggemparkan para pemimpin Gereja, khususnya anggota Dewan Kardinal dan Kuria di Vatikan, yang merasa bahwa Konsili tidak diperlukan. Dalam bab ini dibicarakan tentang arti dari Konsili yang disebut sebagai ekumenis dan pastoral, alasan perlu diadakannya Konsili, persiapan yang dibutuhkan, serta tujuan yang ingin dicapai dengan diadakannya Konsili Vatikan II. Secara khusus disebutkan peran almarhum Paus Johanes XXIII, yang ketika mengumumkan untuk mengadakan Konsili, beliau baru tiga bulan diangkat menjadi Paus. Lewat Konsili ini beliau menginginkan agar Gereja mampu menemukan cara agar iman Kristiani dapat disampaikan kepada dunia dan dimengerti oleh dunia. Demi tujuan itu Gereja perlu “membuka jendela” agar “angin segar memasuki dirinya (hlm. 29).” Gereja perlu melakukan aggiornemento, pembaruan diri. Bab 2 mengulas mengenai orang-orang yang berperan dalam KonsiliVatikan II, ketegangan-ketegangan yang muncul antara mereka yang ingin mengadakan pembaruan dengan mereka yang ingin mempertahankan status quo Gereja, serta peran media massa. Selain sekitar 2200 peserta (Kardinal, Uskup, dan Abas), juga terdapat ratusan teolog yang berperan sebagai penasihat bagi para peserta Konsili (periti), antara lain dengan memberikan seminar-seminar mengenai topik-topik teologis kepada para peserta Konsili (hlm. 35-36). Selain itu juga terdapat para pengamat dari Gereja Ortodoks, Gereja-gereja Protestan main streams (Lutheran, Episkopalian, Anglikan, Metodis, Presbyteran, dan Quakers), dan Yudaisme. Hadirnya para pengamat dari kalangan khusus ini merupakan sesuatu yang baru dan revolusioner dalam Konsili. Secara khusus ditampilkan seorang tokoh pembaru: Kardinal Bea, ketua Sekretariat untuk Kesatuan Umat Kristiani. Ia begitu dikenal dengan ucapannya yang sangat menggemparkan di depan para wartawan: “Members of the other Christian Churches who are living today never ’left’ the Church. So they cannot ‘return,’ can they? We are talking about going together, hand in hand, toward a new future” (hlm. 33). Tokoh pembaru lain adalah Kardinal Achile Liénart, seorang Kardinal senior dari Prancis, yang pada hari ketiga Konsili menolak untuk memilih dari daftar nama yang sudah disiapkan (kebanyakan adalah anggota Kuria) untuk menjadi ketua dari 10 komisi yang akan mengendalikan agenda Konsili. Ia mengusulkan supaya para peserta Konsili memilih orang-orangnya sendiri. Usulan ini didukung oleh Kardinal Josef Fring dari Jerman, dan kemudian diterima oleh semua perserta Konsili. Tokoh pembaru lain adalah Kardinal Jan Alfrink dari Belanda, dan Kardinal Leo Josef Suenens dari Belgia (hlm. 38-38). Di pihak lain, ada tokoh sangat konservatif yang mencoba menghambat jalannya Konsili: Kardinal Alfredo Ottaviani, seorang anggota Kuria dan ketua The Holy Office (sekarang dikenal sebagi Kogregasi untuk Ajaran Iman), yang terkenal dengan ucapannya “Semper idem” (Selalu sama). Ia antara lain melawan hadirnya para pengamat dalam Konsili (hlm. 33), mencoba melarang kuliah-kuliah yang diberikan kepada para peserta Konsili oleh para Yesuit dari Institut Biblis di Roma, bahkan meminta Paus Yohanes XXIII untuk mengusir teolog Yesuit, Karl Rahner dari Roma, yang tentu saja ditolak oleh Paus (hlm. 35). Ia menolak penggunaan bahasa-bahasa lokal untuk Misa, yang intinya adalah pemindahan kekuasaan dari hierarki kepada Umat (hlm. 43), menghambat disahkannya kolegialitas para Uskup dan menandaskan bahwa Komisi Teologi yang ia pimpin memiliki otoritas di atas Konsili (hlm. 55). Dalam bab ini juga disebutkan hal yang baru dalam Konsili ini adalah hadirnya para wartawan dari pelbagai media massa dari seluruh dunia........................................... Sebagai penutup, dalam bab 9, Sullivan menegaskan bahwa ada dua hal yang benar-benar perlu diperhatikan untuk zaman ini sebagai agenda yang belum selesai dari Konsili Vatikan II: kolegialitas (relasi atara Paus dan Uskup) dan peran kaum perempuan dalam Gereja. Akhirnya, pada awal abad ke-21 ini Sullivan mengajak kita semua untuk bertanya: Apakah Gereja kita sungguh-sungguh dapat menjawab tantangan-tantangan pada zaman ini?; Apakah Gereja kita dapat membuat pesan Injil relevan untuk zaman ini?; Apakah Gereja kita dapat membangkitkan entusisme baru yang dapat membangun sebuah generasi baru?; Apakah Gereja dapat meredakan berbagai macam ketegangan yang akhir-akhir ini menggoncang “bahtera Petrus?” Dengan bijak Sullivan mengatakan bahwa kita perlu terus berharap, dan harapan itu akan menjadi semakin produktif kalau kita selalu berpegang pada nasihat almarhum Yohanes XXIII: “Untuk hal-hal yang mendasar, kesatuan; untuk hal-hal yang meragukan, kebebasan; dan untuk segala sesuatu, cinta kasih” (hlm. 124). Buku ini sangat komprehensif mengulas Konsili Vatikan II dan disampaikan dengan bahasa yang sederhana. Buku ini sangat membantu para pembaca karena dilengkapi dengan daftar isi yang mendetil, daftar semua dokumen yang dihasilkan oleh Konsili Vatikan II beserta dengan waktu promulgasinya, daftar istilah-istilah yang penting berkaitan dengan Konsili Vatikan II, serta indeks subjek. Semoga dengan membaca buku ini para pembaca terdorong untuk membuka dan menemukan pesan-pesan penting dari dokumen-dokumen Konsili Vatikan II. (Ignatius Madya Utama, Program Studi Ilmu Teologi, Sekolah Tinggi Filsafat Driyarkara, Jakarta). (shrink)

Arabic and English on opposing pages in Kitåab section; introd., commentary, bibliography, and indices in English and romanized Arabic and Greek.

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)

Recent trends towards an e-Science offer us the opportunity to think about the specific epistemological changes created by computational empowerment in scientific practices. In fact, we can say that a computational epistemology exists that requires our attention. By ‘computational epistemology’ I mean the computational processes implied or required to achieve human knowledge. In that category we can include AI, supercomputers, expert systems, distributed computation, imaging technologies, virtual instruments, middleware, robotics, grids or databases. Although several authors talk about the extended mind (...) and computational extensions of the human body, most of these proposals don’t analyze the deep epistemological implications of computer empowerment in scientific practices. At the same time, we must identify the principal concept for e-Science: Information. Why should we think about a new epistemology for e-Science? Because several processes exist around scientific information that require a good epistemological model to be understood. (shrink)

It is well known the harmful effects that savage capitalism has been causing to the environment since its introduction in a sphere in which a different logic and approach to nature are the essential conditions for the maintenance of the ecosystem and its complex relations between humans and non-human organisms. The amazon rainforest is a portion of the planet in which for thousands of years its human dwellers have been interacting with nature that it is understood beyond its physical condition. (...) Thus, to what extent Amazonian’s approaches to nature could be considered as a moral philosophy through which the way of conceptualizing nature and its non-human denizens enhances the continuity of life and the intimate relations between entities? To answer this question, I will explore the cosmological system of the Shuar of the Ecuadorian Amazon with whom I lived for 5 months between July and November 2018, and thereby elucidate the spiritual relations that this society has with the metaphysical domain of nature. (shrink)

El artículo intenta poner en evidencia cómo la lectura crítica de La poética de Aristóteles realizada por Nietzsche en El nacimiento de la tragedia tiene una serie de aspectos discutibles a través de los cuales no es clara la postura nietzscheana, pues si bien hay algunas diferencias entre ambos, también es posible identificar algunos puntos en común. La confrontación entre los filósofos se ilustra a partir de los conceptos de mito y música, mostrando cómo el distanciamiento que el filósofo alemán (...) intenta realizar, a pesar de tener ciertos elementos equívocos, propicia ante todo el esclarecimiento de su propia percepción trágica. (shrink)

Based on a discussion of the theoretical contributions of Claude Lévi-Strauss and Pierre Clastres, this article explores social relationships as more than a human dimension. Though strongly analysed by both anthropologists, these relationships appear to involve indigenous societies’ whole ecological and cosmological system. In this sense, reciprocity, social cohesion, and exchange can be understood as material and immaterial interrelationships between entities of a more than a corporeal world. I argue, then, that to go beyond the mere anthropocentric conceptualisation of sociality (...) in a nature good to think, we need to holistically conceive the interconnected levels of trophic, socio-structural and socio-cosmic relationships and exchanges between human and non-human beings in the ecosystem. (shrink)

The outbreak of SARS-CoV-2 has threatened ethnographic inquiry, undermining its quintessential characteristic. Participant observation, then, has been thoroughly dismembered by the radical measures implemented to prevent the spread of the virus. This phenomenon, in short, has dragged anthropologists to a liminal state within which ethnography is paradoxically caught in an onto-epistemological unstable vortex. The question of being here and not there, during the pandemic, is epitomised in the instability of different spatio-temporal contexts that overlap through technological mediations. Reflecting on previous (...) fieldwork experiences and current virtual inquiries with the Shuar of the Ecuadorian Amazon unfolds how COVID-19 has thoroughly reshaped how the author approaches subjects' socio-ecological settings. Against this background, the article argues that corporeal immersion remains a necessary condition for the anthropological scrutiny of multispecies relationalities amidst the challenging times of the Anthropocene. The article nevertheless demonstrates that the intellectual efforts to grasp the different material temporalities of virtual spaces embrace the ethical principles concerning the renunciation of fieldwork with vulnerable communities. Furthermore, a reflective and speculative stance is proposed to actualise the snapshots of faraway physicalities linking them to past embodied and multi-sensory experiences. It is ultimately theorised how these mnemonic devices operate as creative forms of inquiry that overcome the pandemic consequences, extra-stimulating our cognitive capabilities to reflect on prior and possible socio-material interactions. (shrink)

Al tratar de disolver la neta separación entre una mente racional y la materia inerte abogada por el dualismo Cartesiano, el monismo lucha por reunificar estas distintas realidades ontológicas. Tal como para Claude Lévi-Strauss y Baruch Spinoza, esa dicha unificación no puede prescindir de la trascendencia de la mente humana como locus del pensamiento y conocimiento de la naturaleza externa. A través de una discusión entre las abstracciones de la etnología Amerindia (animismo-perspectivismo), las teorizaciones del estructuralismo y las relaciones que (...) estos tienen con algunas especulaciones filosóficas occidentales, este artículo trata de analizar las intricadas interacciones humano-naturaleza entre los Shuar de la Amazonía Ecuatoriana. De esta forma, se argumenta que las realidades metafísicas de las experiencias oníricas y visionarias están ontológicamente determinadas por el grado de intensidad de contacto que los humanos establecen con las subjetividades materiales del ecosistema. (shrink)

The purpose of this paper is to present several applications of combinatorial principles, well-known in Set Theory, to the geometry of infinite dimensional Banach spaces, particularly to the existence of certain basic sequences. We mention also some open problems where set-theoretical techniques are relevant.

A paradox is usually described as an apparently false statement supported by an apparently good argument which departs from premises that most people would find trivially true. This survey article presents a brief overview of three different contemporary perspectives on paradoxes. According to the epistemic view, paradoxes play a crucial role in the progress of science and cannot be regarded as sound proofs of a false statement. According to the dialetheist view, the conclusion of some paradoxical reasonings is both, true (...) and false, what means that there must be some true contradictions. Finally, the mystic view understands recalcitrant paradoxes as unsolvable problems which show the limits of human thought and cognition. The last section of this paper focuses on the paradoxes of self-reference, a family of paradoxes which have had a deep impact in the development of science during the twentieth century. Keywords: paradox, veridic paradox, falsidic paradox, antinomy, dialetheism, selfreference, circularity, inclosure schema. (shrink)

La presente investigación se ha centrado en describir los retos a los que se ha de enfrentar la comunidad educativa ante la presencia de alumnado con necesidades educativas especiales en los centros escolares. La metodología se ha centrado en la implementación de un cuestionario tomando como referencia cuatro elementos clave: familia, profesorado, alumnado y centro. El análisis posterior de los datos refleja que la comunidad educativa está a favor de promover un modelo de escuela inclusiva aunque falta un gran camino (...) por recorrer con respecto a la formación y la información sobre la inclusión en el aula. (shrink)

In this article, I will outline an assessment model that allows instructors to continuing assigning term papers and argumentative papers without compromising the authenticity of student assessment. This path forward relies upon a pseudo flipped classroom model in which students will complete a scaffolded term paper through a series of in-class assessments that build upon previously completed components. The final steps of completing this assignment will require producing a draft and final version of a traditional term paper outside of the (...) classroom but only after the instructor ensures they have critically thought through the preceding components independently. The intention is to maintain the nuance, critical thinking, engagement with primary and secondary sources, and depth of content comprehension that a thoughtful paper requires, while also ensuring that students are completing the work themselves and not merely outsourcing bits and pieces of it to LLMs. (shrink)

Las antiguas zonas mineras e industriales, muchas de ellas ya abandonadas tras una prolongada actividad extractiva y productiva, albergan frecuentemente buenas experiencias de recuperación del patrimonio asociado y sus paisajes. Impulsados inicialmente los proyectos desde las administraciones públicas, sobre todo de ámbito municipal, con participación activa de las empresas propietarias y la comunidad local, hoy son un extraordinario referente de puesta en valor de un legado muy peculiar que ofrece amplias posibilidades de reutilización bajo la perspectiva irrenunciable del desarrollo sostenible.

En la gran producció filosòfica d’Eusebi Colomer, s’hi poden distingir tres grans centres d’interès particularment destacats. En primer lloc, la seva dedicació a l’estudi del pensament de Ramon Llull i de Nicolau de Cusa. La seva tesi doctoral va mostrar les influències lul·lianes en l’obra de Nicolau de Cusa a partir de les anotacions autògrafes en què el jove Nicolau es feia ressò de les coses que més li interessaven de Llull. El segon gran centre d’interès el van constituir, naturalment, (...) els grans corrents de la filosofia alemanya moderna i contemporània. Des dels anys d’estudiant s’havia familiaritzat particularment amb l’idealisme, la fenomenologia i la filosofia de l’existència. Finalment, el seu tercer centre d’interès va ser el diàleg filosòfico-teològic. Colomer lamentava profundament el divorci produït entre la filosofia i la teologia. Adaptant una coneguda formulació de Kant, pensava que la teologia sense filosofia és cega, però que la filosofia sense teologia és buida. Format en la tradició metafísica espiritualista i defensor de l’humanisme cristià, Colomer es trobava, però, a les antípodes de qualsevol sectarisme o dogmatisme. La seva formació, el seu tarannà i, segurament, els seus enormes coneixements de la història de la filosofia, li havien conferit una gran capacitat per al diàleg. Ell no veia el diàleg com un recurs o com una tàctica, sinó com un element constitutiu de l’ésser humà. \n. (shrink)

ABSTRACTThis article draws attention to the presence of a previously unnoticed transliterated telestich in the transformation of stones into bodies in the episode of Deucalion and Pyrrha in Ovid's Metamorphoses. Detection of the Greek intext, which befits the episode's amplified bilingual atmosphere, is encouraged by a number of textual cues. The article also suggests a ludic connection to Aratus’ Phaenomena.

El objetivo de este trabajo es analizar las diversas manifestaciones de transgresión que tienen su origen en los últimos años de la década de los 70 y en los 80 en España, y su reflejo en los estereotipos de género. Desde las actitudes libertarias, pasando por la superwoman como modelo de mujer emancipada, hasta los nuevos modelos de maternidad intensiva que comienzan a introducirse a finales de los ochenta, la transgresión se ha manifestado de diversas formas durante este periodo en (...) el que las españolas a duras penas lograron superar el modelo tradicional impuesto por el franquismo. En este contexto, la transgresión se manifestó como un fenómeno superficial, inherente al momento sociopolítico y vaciada de un contenido reivindicativo. (shrink)

What is sportsmanship? Following Keating, we may say that sportsmanship is conduct befitting a person involved in sports. This raises the question of what kind of activity exactly sport is. This is notoriously difficult to answer, but roughly speaking, sport is a rule-governed activity that is about excellence, an understanding of how to play the game, and, in competitive sports, winning. Accordingly, there are four elements of sportsmanship: fairness, equity, good form and the will to win. These four elements are (...) equally important and not reducible to one another. Yet, the will to win is in systematic conflict with the other three elements. Hence, sportsmanship is not only compromised of these four elements, but also requires that a balance be held between them. (shrink)

Mimesis as Make-Believe is important reading for everyone interested in the workings of representational art.