Este ensayo describe una particular experiencia estética, basada en la obra gráfica La confianza, de Goya, perteneciente a la serie de los Caprichos e invenciones, que son paisajes de pesadilla que ilustran la crisis social de la época de las Luces. Desde aquí, desarrollaré una hermenéutica personal que avanza por tres escenarios teóricos sobre lo que implicaría la confianza de una mujer en otra, a partir del soporte de imagen. Las diversas tesis teóricas se sitúan en la órbita del pensamiento (...) feminista de actualidad y en donde se representarán a tres autoras: Muraro, Despentes y Braidotti. Finalmente, este dispositivo de interpretación permitirá relevar el arte de Goya a propósito de una posible revisión de crítica social sobre la virtud de la confianza. (shrink)

Francisco de Goya y Lucientes (1746–1828) manifeste dans les 82 gravures de la série Les désastres de la guerre, réalisées entre 1810 et 1815, un cri de protestation contre la violence du soulèvement du Dos de Mayo suite à l’invasion des troupes napoléoniennes, la guerre d'indépendance espagnole (1808–1814) et la Restauration bourbonienne qui s'ensuivit en 1814. Mais au lieu de développer une vision héroïque de la guerre Goya y représente la force des oppositions en prise avec la bestialité et (...) brosse un paysage humain qui mêle le sublime et l’horreur mais aussi des harmonies funèbres qui jouent avec les hommes emportés par l’Histoire. (shrink)

This article presented the concept of the sinister in the aesthetic work of the Spanish painter Francisco de Goya, who used his painting for a historical expressionism to capture the resistance and the Spanish impetus for independence from the French regime under the command of Napoleon Bonaparte. The analysis is based on a bibliographic and pictographic review on ductility of two categories: Goya and the representation of the sinister and the symbolic of painting in Iberian romanticism. It is intended (...) to demonstrate that, beyond a style, there exists in Goya art the hermeneutical supratextuality retained in the aesthetics of the sinister over the eternity of the canvas. From this reflection, it could be revealed that the aesthetic of the sinister mediated by the sublime becomes an expression that causes fascination, curiosity and at the same time rejection. Hence, when speaking of the sinister, we refer to that which is veiled and which needs to cast off its shadow, in order to be able to see itself clearly. In Goya, the tragic is connected: the faces full of drama reveal the disturbing reality of their surroundings and his work leaves encoded images of emotions, history and horror sealed in the murals of his room. It is at that moment that the sublime fulfills the fundamental role of being the bridge that allows access to knowledge in the face of the questions that are part of existence, since in the philosophical amazement it is sought to reveal the doubtful, hidden and disturbing that is part of our humanity. (shrink)

Contrary to the received opinion that Pablo Picasso conceived of Guernica only after learning of the bombing of the Basque town on 26 April 1937, and in direct response to it, in this article we demonstrate that the mural was visualized much earlier, as part of Picasso’s larger artistic and intellectual response to war. In February 1937 Picasso met with José Luis Sert, the architect of the Spanish Pavilion planned for the Paris World Fair that was to open in June. (...) That he was so quickly able to provide the architect with the exact dimensions of the mural suggests that he had already conceived a vision and plan for the painting that would only later be known as Guernica—a vision that saw him less preoccupied with iconographical minutiae than with visual problem-solving around a general theme: the types and consequences of political violence in Spain and wars past, present, and future. In searching for inspiration, Picasso paid homage to three other artists whose works reflected different aspects of this theme: Francisco Goya, Robert Capa, and David Seymour. The whole mural was painted in black and white because Picasso was certain that Guernica would be seen as a work of photojournalism, which form of journalism had only recently started to be transmitted by wire and radio services. Lastly, Picasso was confident that his painting would eventually be installed in the Prado Museum and be compared to both of Goya’s paintings, The Second of May 1808 (1814) and The Third of May 1808 (1814). To place himself as pre-eminent, Picasso made Guernica larger than either of Goya’s paintings by subsuming the former into a completely original compositional overlay. (shrink)

In the paper I am concerned with various manifestations of aesthetic fear and anxiety, that is, fear and anxiety triggered by works of art, which I am discussing from aesthetic as well as anthropological perspectives. I am analysing the link between fear and pleasure in catharsis, in Edmund Burke’s notion of the sublime, and in reference to Goya’s Black Paintings and to Paul Virilio’s thought. Both aesthetic fear and aesthetic anxiety exist alongside other emotions, such as pity and sadness, and, (...) most notably, with pleasure which is autonomous or arises from the fascination with evil. (shrink)

“Noverim me, noverim te.” – Saint Augustine, Confessions, 10.1.1. (397-400 AD). -/- What would and will an urban commons look like that is slowly and incrementally being re-socialized? How would that affect urban planning “now” and in times of crisis? How do we prepare for the likelihood of rolling similar crises with an eye on returning the urban commons to citizens? -/- There is the old adage that under capitalism, risk is always socialized and profit is always privatized. We are (...) seeing it now, under the COVID-19 crisis. The huge bailouts launched by governments are symptomatic of the crisis in political economy, just as they were post-2008. “Too big to fail” has sponsored monsters that refuse to back off without threatening the collapse of the entire system. Francisco Goya’s “The sleep of Reason produces monsters …” comes to mind. -/- Physical and immaterial culture, in our current Western civilisation, are intimately linked. Yet the focus for urban design is generally on the material or physical side, with the immaterial left to its own devices. Increasingly, urban design measures are merely ameliorative and aesthetic, with the larger share shaped by a political economy dictated by market ideology or “politicalology.” What transpires, nonetheless, is an immaterial commons that constitutes a public or private intellectual commons – often a mix of the two; but, in the case of domination by market ideology, the privatization of “general intellect” proceeds by abject appropriation. In such a technocratically driven model, subjective states become increasingly important. As Indian architect Balkrishna Vithaldas Doshi once said, “Smart cities are smart people.” -/- How might these two otherwise contiguous and synchronous systems be brought back into a properly civic-minded rapport with or without crisis-driven change? Are there alternate models for the urban commons? What measures might be put in place in advance, or as provisional intercessions? (shrink)

This paper addresses the issue of Jacek Dehnel’s presence in Spain. On the one hand, it contains references to Spain within his works: the Francisco Goya family in the novel Saturn. Czarne obrazy z życia mężczyzn z rodziny Goya (W.A.B. Publishers, Warsaw 2011; translated into English as Saturn: Black Paintings from the Lives of the Men in the Goya Family by Antonia Lloyd-Jones, Dedalus, Cambridgeshire 2012) and two maps: Ancient Spain and Modern Spain in the book Kosmografia, czyli trzydzieści (...) apokryfów tułaczych (Biblioteka Narodowa, Warsaw 2012). On the other hand, the paper refers to the translation of Dehnel’s works into Spanish: the novel Lala (W.A.B. Publishers, Warsaw 2006) translated by Jerzy Sławomirski and Anna Rubió as El jardín de Lala (Duomo ediciones, Barcelona 2012; translated into English as Lala by Antonia Lloyd-Jones, Oneworld Publications, London 2019) and eight poems by the poet inside the volume Poesía a contragolpe. Antología de poesía polaca contemporánea (autores nacidos entre 1960 y 1980), selected and translated by Abel Murcia, Gerardo Beltrán and Xavier Farré (Prensas Universitarias de Zaragoza, Zaragoza 2012). Analysis covers one of the poems from the anthology, entitled El abogado Federico G. L. dicta una citación. (shrink)

Post-secularism is the fundamental evidence of the end of modernity. Modernity, as sleeping reason in Francisco Goya's painting, realizes that, although it thought that it was awake, it was producing monsters. We try to analyze post-secular philosophy from the point of view of Russian religious thought. We believe that such philosophers as Vladimir Soloviev, Pavel Florensky, Sergey Bulgakov, Nikolai Berdyaev, Georges Florovsky, and Semen Frank may be helpful for understanding and overcoming post-secular order. Their unique views on the relations (...) between religion and philosophy, science, and social life are apparently missing in the current Western debates. It seems to us that Russian religious philosophy becomes surprisingly up-to-date and attractive in the contemporary world. We hope that the present volume will be a significant step forward in the inclusion of the heritage of Russian religious philosophy in contemporary debates. (shrink)

This introduction takes recent agricultural protests and Francisco Goya’s famous painting of a revolting peasant, _No harás nada con clamar_ (“You won’t get anywhere by shouting,” c. 1816–1820), as a starting point to discuss pivotal moments in the history of agricultural protest and reflect on recurrent aesthetic tendencies of artistic manifestations of revolt. Its main points of focus are the various global protest cultures of the present in their socio-political, ecological, economic, and aesthetic contexts, including their differences and internal (...) ambivalences. The introduction traces different and recurring aspects of the political imaginary of agriculture from the early-modern peasant wars and 19th-century agricultural realism to the (re-)medialized images and gestures of the 20th century and the present. It concludes with an overview of what is at stake in the contributions of this special issue. (shrink)

“We cannot look at it”, some prints of Francisco de Goya show violence and horror in war. In literature, E. Wiesel, J. Semprun, and P. Levi recalled the darkest side of contemporary history, exhibitting the value of fiction as a sort of indirect knowledge of history. The article pays special at..

For the moment, I assume that we have some rough idea of what “title” is supposed to mean: the large letters on the spine of a book, the words on the center of the first page of a musical score, or the little plate on the museum wall to the right of the painting . Thus examples of titles would be The Taming of the Shrew, “Mapleleaf Rag,” or The Birth of Venus, but that generates a rather complex set of (...) answers.Let us start with what is undoubtedly the simplest situation: where an inscription of the title is physically part of the work. The most familiar of the aquatints of Francisco Goya which collectively are called Los Caprichos—the forty-third—is titled The Sleep of Reason Produces Monsters, or, more precisely, the Spanish equivalent of those words, for the Spanish words appear as a large and significant element on the plate, indeed occupying more than 10 percent of its surface. In such cases titles are not given: they are elements of works, not by inference or subtle metaphor but in a most literal way. No other title fits in that way. That print could not be called Bats and Cats and Sleeping Man with the expectation that those words should serve as its title. Some works—most works—on the other hand, allow for a range of acceptable titles. Guernica could have been titled The Bombing of a Basque Village or Luftwaffe Hell. Neither of these would, I suspect, have been as good a title as Guernica, but they remain possibilities, even though the familiar title is not physically part of the work. Some works, incidentally, contain words, even sentences, and are not titled accordingly. Several familiar works of René Magritte include a most realistic representation of a tobacco pipe and the large words “Ceci n’est pas une pipe.” Examples of the titles given by Magritte to paintings in this series are L’Air et la chanson and Le Trahison des images. Obviously, not all works of visual art which contain linguistic inscriptions have titles which correspond to those inscriptions. The simplest situation is hardly much help. John Fisher is professor of philosophy at Temple University and editor of the Journal of Aesthetics and Art Criticism. He is also the editor of Perceiving Artworks and Essays on Aesthetics. (shrink)

Resenha do livro The Ethics of Environmentally Responsible Health Care.

Alison L. Spedding es la antropóloga y novelista que fue arrestada en marzo de 1998 por las autoridades bolivianas bajo el cargo de tráfico de drogas, que ella niega fuertemente. Al momento de ser impreso este número, se había eliminado el cargo de tráfico por falta de evidencia, pero se estaba ..

The text deals with the concept of representation in its relation to the concept and sovereignty, in Thomas Hobbes (1588-1679). The work studied is Leviathan, of 1651. The research presents that sovereignty is founded through the original legal act, which establishes an artificial person to represent everyone. This artificial thing is the State. The political society, however, is different from its government, although they are functionally the same.

Everyone has heard of "the invisible hand," the famous metaphor used by Adam Smith (1723-1790) in The Wealth of Nations. Although he uses the expression only once in the book, it has given rise to controversy that has lasted for over two centuries. -/- The famous expression has been understood, in (at least) two very different ways. In one way by most of academia, and in a very different way by Keynes, Noah Chomsky and more lately by Mark Blaug (in (...) the second edition of The New Palgrave, 2008). -/- In the standard textbook interpretation, it is considered a poetical name for "the price mechanism" and presented as an argument in favor of laisser-faire and free trade. In this paper we recall the less well-known interpretation (of Keynes, Blaug and Chomsky), showing that Smith was more reserved towards laisser-faire than is commonly believed and that by "invisible hand" he did not mean the price mechanism. (shrink)

Socrates can be said to have left the subsequent philosophical tradition with the problem of the relation between philosophy and politics. Already in the Republic the proposal of philosopher-kings represents more a tension than an identity. While Aristotle responds by insisting on a sharp distinction between politics and philosophical wisdom, this distinction proves on closer examination much less sharp than might appear. Heidegger characterizes philosophy as the only authentic politics and the philosopher as ruling just by virtue of being a (...) philosopher. In contrast, Foucault insists that, if philosophy can play a role in relation to politics by transforming the subject who lives politically, it plays no role within politics. In this contrast can be seen the 'fallout' of the tension bequeathed by Socrates through both Plato and Aristotle. Podría decirse que Sócrates le dejó a la tradición filosófica posterior el problema de la relación entre filosofía y política. Ya en la República la propuesta del rey filósofo representa más una tensión que una identidad. Mientras que la respuesta de Aristóteles insiste en una clara distinción entre la política y la sabiduría filosófica, un examen cuidadoso demuestra que esta distinción es menos clara de lo que parece. Heidegger caracteriza la filosofía como la única política auténtica y al filósofo como gobernante por el mero hecho de ser filósofo. En contraste, Foucault insiste en que si bien la filosofía puede desempeñar un papel en relación con la política al transformar al sujeto que vive políticamente, aquella no desempeña papel alguno dentro de la política. Este contraste ilustra el resultado de la tensión legada por Sócrates a través de Platón y Aristóteles. (shrink)

In this research work a novel two-step system for anomaly detection is presented and tested over several real datasets. In the first step the novel Exploratory Projection Pursuit, Beta Hebbian Learning algorithm, is applied over each dataset, either to reduce the dimensionality of the original dataset or to face nonlinear datasets by generating a new subspace of the original dataset with lower, or even higher, dimensionality selecting the right activation function. Finally, in the second step Principal Component Analysis anomaly detection (...) is applied to the new subspace to detect the anomalies and improve its classification capabilities. This new approach has been tested over several different real datasets, in terms of number of variables, number of samples and number of anomalies. In almost all cases, the novel approach obtained better results in terms of area under the curve with similar standard deviation values. In case of computational cost, this improvement is only remarkable when complexity of the dataset in terms of number of variables is high. (shrink)

Quentin Meillassoux defiende una posición llamada “materialismo especulativo”, la cual asegura haber alcanzado –por un procedimiento estrictamente racional– algo absoluto. Con este gesto afirma ir más allá de la crítica kantiana y del fideísmo. Esta postura es muy diferente de los materialismos tradicionales, pero también de todo tipo de absoluto metafísico, pues niega la validez del principio de razón suficiente y rechaza la existencia necesaria de cualquier entidad. Lo único necesario para Meillassoux es el principio que afirma que todo es (...) contingente, y la concomitante irrazón de todo lo que existe. El autor objeta que se pueda sostener racionalmente que lo real carece de inteligibilidad, a la vez que argumenta que se puede justificar la tesis del surgimiento ex nihilo de la vida, el pensamiento, e incluso de la divinidad, con el razonamiento de que la contingencia radical de todo implica también que todo es posible, excepto lo contradictorio. (shrink)

The question regarding the determination of Hegel's idealism remains central in Hegelian studies, today dominated by the view that such idealism would be merely a continuation and elaboration of Kant's transcendental idealism. Against this view, in this work we propose to investigate the way in which Hegel conceives philosophy, its task and its object and the way in which such a conception reveals the central determinations of his idealism, that is, the way in which Hegel's idealism has an explicit ontological (...) direction that distances it from the purely epistemological project of Kant and his epigones, placing the fundamental problems of European philosophy in another light; The historical-social foundations that explain the reason for such a conception of philosophy are also addressed. (shrink)

No início do movimento psicanalítico, a Hungria foi um dos países pioneiros dentre os que acolheram e propagaram a psicanálise. Sándor Ferenczi, figura principal de desenvolvimento da psicanálise no país, abraçou a causa psicanalítica e se tornou um dos mais importantes teóricos de sua história. Responsável pela criação da Associação Psicanalítica Internacional, fundaria também a Sociedade Húngara de Psicanálise, instituição reconhecida pela originalidade de suas propostas. Além de Ferenczi, Melanie Klein, Michael e Alice Balint, Géza Roheim, dentre outros, foram seus (...) membros. Neste estudo de caráter histórico, o intuito é retomar todo o caminho trilhado pela instituição húngara, desde sua fundação até sua dissolução, em 1949. A identidade e o “espírito” investigativo daquela instituição se perpetuariam ao longo da história psicanalítica, influenciando, direta ou indiretamente, grandes escolas e teóricos da psicanálise, como D. W. Winnicott e alguns pensadores das escolas americanas e francesas. Palavras-chave: psicanálise; história da psicanálise; sociedade húngara de psicanálise; instituições psicanalíticas; Sándor Ferenczi.: Hungary was a place where psychoanalysis founded a great support and development at the beginning of psychoanalytical movement. Sándor Ferenczi, leading figure of psychoanalytical increase in the country, embraced the psychoanalytic cause and became one of its most important theorists and thinkers in history. Responsible for the foundation of the International Psychoanalytical Association, also created the Hungarian Psychoanalytical Society, an institution recognized for the originality of their proposals. Besides Ferenczi, Melanie Klein, Michael and Alice Balint, Géza Roheim, among others, were its members. In this historical study, the purpose is to resume the entire path taken by the Hungarian institution, from the foundation to its dissolution in 1949. The identity and the investigative “spirit” of that institution perpetuate throughout psychoanalytical history, influencing, directly or indirectly, great schools and theorists of psychoanalysis, eg, D. W. Winnicott and some thinkers of American and French schools. Keywords: psychoanalysis; psychoanalytical history; hungarian psychoanalytical society; psychoanalytical institutions; Sándor Ferenczi. (shrink)

El Furry Fandom es una subcultura en torno al interés por animales o criaturas antropomórficas, pero apenas ha sido investigada su población hispanohablante, a pesar de la instigación de los medios de comunicación españoles reproduciendo estereotipos de los medios americanos. El artículo aborda cómo se construye la identidad furry en España y sus relaciones con la práctica del género (regulada sexualmente); así como el uso de jerga. El método consta de observación participante en foros y en entrevistas para análisis de (...) casos; lo cual permitió un análisis de contenidos diversos, repertorios interpretativos y un análisis crítico del discurso . Como conclusión, el furry fandom enmarca cuestiones feministas a partir de la metáfora del cyborg, tales como qué papel debe tener la ciencia, ideología sobre la naturaleza humana y la necesidad de coalición de identidades. (shrink)

This paper sets forth a familiar theme, that science essentially consists of two interdependent episodes, one imaginative, the other critical. Hypotheses and other imaginative conjectures are the initial stage of scientific inquiry because they provide the incentive to seek the truth and a clue as to where to find it. But scientific conjectures must be subject to critical examination and empirical testing. There is a dialogue between the two episodes; observations made to test a hypothesis are the inspiration for new (...) conjectures. Inductive generalizations may also inspire hypotheses, but cannot validate them. A hypothesis is empirically tested by ascertaining whether or not predictions about the world of experience deduced from the hypothesis agree with what is actually observed. This has been appropriately considered the 'criterion of demarcation' that distinguishes science from other knowledge. But scientific hypotheses must satisfy other tests as well, e.g., whether they have explanatory value and further understanding. I briefly explore such issues as verifiability and falsifiability, empirical content and truthfulness, contingency and certainty, fact and theory, error and fraud. Science like any human activity is subject to error and to the foibles and other failings of human beings. But severe attempts of empirical falsification and other trials yield knowledge that stands the test of time and provides a foothold for further knowledge. Moreover, scientists have developed social mechanisms, such as peer review and publication, to evaluate their work. Because the research of scientists depends on the validity of previous knowledge, it is of great consequence that they discern valid from invalid knowledge and thus scientists are inclined to transcend ideology, nationality, friendship, monetary interest and other prejudices when the mettle of scientific knowledge is at stake. I use historical examples to illustrate some relevant aspects of scientific practice: its success (Mendel), misrepresentation (Darwin), ideological abuse (Lysenko), arrogant violation of the requirement of testing (Koch), theory replacement (Priestly and Lavoisier, Newton and Einstein), and the indispensability of context (Oswald Avery and Alfred Wegener). (shrink)

The design of the bronchial tree has largely been proposed as a model of optimal design from a physical-functional perspective. However, the distributive function of the airway may be more related to a geometrical than a physical problem. The bronchial tree must distribute a three dimensional volume of inspired air on a two dimensional alveolar surface, included in a limited volume. It is thus valid to ask whether an optimal bronchial tree from a physical perspective is also optimum from a (...) geometrical point of view. In this paper we generate a simple geometric model for the branching pattern of the bronchial tree, deducing relationships that permit estimation of the departures from the geometrical optimum of each bifurcation. We also, for comparative purposes, estimate the departures from the physical optimum. From the geometrical assumptions: i) a symmetrical dichotomic fractal design, ii) with minimum volume and iii) maximum dispersion of the terminal points; and several simulations we suggest that the optimality is characterized by a bifurcation angle Θ ∼ 60° and a length reduction scale γ = (1/2)1/3 = 0.7937. We propose distances from the physical and geometrical optimality defined as Euclidean distances from the expected optima. We show how the advanced relationships and the distances can be used to estimate departures from the optimality in bronchographs of four species. We found lower physical and geometrical departures in the distal zone than those of the proximal zones, as well as lower physical than geometrical departures from optimality. (shrink)

¿Puede Tomás de Aquino, pensador del siglo XIII, decirnos algo a nuestra realidad política latinoamericana actual? Un texto entre dos contextos es el pretexto para generar una reflexión en torno al derecho a la rebelión, desde la perspectiva de la no-violencia y el derecho a la desobediencia civil. Un camino desde la justicia y el buen gobierno en el Aquinate, seguido del bien común político y las virtudes políticas en el Angélico para desembocar en el derecho a la rebelión, es (...) la ruta que se traza para esta exposición. Una lectura desde la propuesta exegética hermenéutica del Dr. René Padilla, es decir, una comprensión intuitiva, una comprensión gramático-histórica y una comprensión contextualizadora son el cómo y modo del presente trabajo. (shrink)