By themselves, mesencephalic subcortical mechanisms provide a preattentive kind of consciousness, related to stimulus-related, short-latency dopamine release triggered by collicular input. Elaborate forms of consciousness, containing identifiable objects (visual, auditory, tactile, or chemical), imply longer-lasting phenomena that depend on the activation of prosencephalic networks. Nevertheless, the maintenance of these higher-level networks strongly depends on long-lasting mesencephalic dopamine release. (Published Online May 1 2007).

Algebraic quantum field theory (AQFT) puts forward three ``causal axioms'' that aim to characterize the theory as one that implements relativistic causation: the spectrum condition, microcausality, and primitive causality. In this paper, I aim to show, in a minimally technical way, that none of them fully explains the notion of causation appropriate for AQFT because they only capture some of the desiderata for relativistic causation I state or because it is often unclear how each axiom implements its respective desideratum. After (...) this diagnostic, I will show that a fourth condition, local primitive causality (LPC), fully characterizes relativistic causation in the sense of fulfilling all the relevant desiderata. However, it only encompasses the virtues of the other axioms because it is implied by them, as I will show from a construction by Haag and Schroer (1962). Since the conjunction of the three causal axioms implies LPC and other important results in QFT that LPC does not imply, and since LPC helps clarify some of the shortcomings of the three axioms, I advocate for a holistic interpretation of how the axioms characterize the causal structure of AQFT against the strategy in the literature to rivalize the axioms and privilege one among them. (shrink)

The normalization in the path integral approach to quantum field theory, in contrast with statistical field theory, can contain physical information. The main claim of this paper is that the inner product on the space of field configurations, one of the fundamental pieces of data required to be added to quantize a classical field theory, determines the normalization of the path integral. In fact, dimensional analysis shows that the introduction of this structure necessarily introduces a scale that is left unfixed (...) by the classical theory. We study the dependence of the theory on this scale. This allows us to explore mechanisms that can be used to fix the normalization based on cutting and gluing different integrals. “Self-normalizing” path integrals, those independent of the scale, play an important role in this process. Furthermore, we show that the scale dependence encodes other important physical data: we use it to give a conceptually clear derivation of the chiral anomaly. Several explicit examples, including the scalar and compact bosons in different geometries, supplement our discussion. (shrink)

There are numerous studies that, from different perspectives, have dealt with the debate held in the Spanish Empire during the 16th century on the slavery of the American Indians, starring –among others– by Francisco de Vitoria and his disciples from the School of Salamanca, and also –outside the academic sphere– by Fray Bartolomé de las Casas and Juan Ginés de Sepúlveda. The purpose of this work is to study whether this debate made its mark in Spanish society. For this, (...) it is analyzed three theatrical pieces from the Golden Age signed by playwrights of the stature of Tirso de Molina, Lope de Vega and Pedro Calderón de Barca, who –given their enormous popularity– had the capacity to reach the wide audience that congregated in the corrals of comedies. Were these three writers influenced by the controversy over the Indians carried out, among other authors, by Vitoria, Las Casas and Sepúlveda? Did they fully grasp in their works the subtle debate that Vitoria, Las Casas and Sepúlveda maintained when they interpreted Aristotelian arguments on slavery and the consequences that derived from them in terms of the possibility of enslaving or not the Indians? (shrink)

Frente al modelo epistémico de la modernidad "ideas claras y distintas", "ordine geometrico", en el barroco español prevalece la expresión de los símbolos y la referencia a los valores, la nada, la vida, la temporalidad, os sueños y la sabiduría intuitiva y proyectiva: san Juan de la Cruz, Gracián, Quevedo, Calderón... También en el s. XX, el modo de entender "europeo" es diferente. Unamuno habla del "método de la pasión" y "sabiduría frente a la ciencia" ; Ortega de "la (...) interpretación española del mundo" y "la razón al servicio de la vida" ; el poeta A. Machado de "visiones cordiales u opiniones de sentido, en vez de definiciones conceptuales". Son diferentes modos de entender la modernidad . (shrink)

En el presente ensayo se intenta delimitar una definición del concepto de _aparato_ hallable en la filosofía tardía de W. Benjamin atendiendo prioritariamente al ensayo sobre la obra de arte de 1935-36. Junto a esa delimitación, se analizan las posibles modulaciones del término y los diversos alcances que es posible atribuirle. Aunque es ciertamente difícil realizar tal labor con exhaustividad y cabal precisión (entre otras razones, por las importantes modificaciones que posee el escrito), se argumentará que una comprensión del concepto (...) resulta esencial para despejar una serie amplia de equívocos o imprecisiones al momento de profundizar en la reflexión benjaminiana en torno al vínculo entre técnica, percepción y estética. Palabras clave: aparato, percepción, técnica, máquina, cine. (shrink)

In this paper, we present two ways of modelling every epistemic formal conditional commitment that involves (at most) three key epistemic attitudes: acceptance, rejection and neither acceptance nor rejection. The first one consists of adopting the plurality of every mixed Strong Kleene logic (along with an epistemic reading of the truth-values), and the second one involves the use of a unified system of six-sided inferences, named 6SK, that recovers the validities of each mixed Strong Kleene logic. We also introduce a (...) sequent calculus that is sound and complete with respect to both approaches. We compare both accounts, and finally, we suggest that the plurality of Strong Kleene logic as well as the general framework 6SK are linked to formal epistemic norms via bridge principles. (shrink)

En este trabajo se argumenta que no es posible contar objetos reales. Aunque a primera vista esta tesis pueda resultar desconcertante, o un simple ejercicio de «arte conceptual», las razones que la apoyan son fundadas y muy naturales. Se examinan algunas consecuencias importantes de dicha tesis y se ponen en conexión con diversos planteamientos de H. Putnam, P. Unger y E. Sosa.

Hermeneutics is the exploration of the process of textual interpretation. As such, it has long been recognised as an important component within the humanities and social sciences, whether one deals with actual texts or with other the products of meaningful human activity, including social actions and utterances. Here, we offer a brief overview of the contribution that hermeneutics might make to the philosophy of sport. If sports and sporting events are seen to be the results of meaningful human interactions, then (...) they are meaningful phenomena that lend themselves to interpretation. It can thus be argued that a hermeneutics of sport is a valid and important discipline, worthy of consideration and development. We offer a review of the nature and history of hermeneutics in general, briefly exploring the place of key figures such as Schleiermacher, Heidegger, Gadamer and Riceour, as well as key concepts such as that of the hermeneutic circle. In addition, we suggest the importance of a hermeneutics of suspicion, grounded in the work of Marx, Freud and Nietzsche. In the second part of our introduction, we briefly comment on each of the papers that comprise the current volume, and that reflect the diversity of approaches that a hermeneutics of sport might embrace. (shrink)

Edith Stein (1891-1942) is a clear example of a philosopher, since she dedicated her entire life and effort to the conquest of Truth, of Being. The path she follows begins with her personal experience and her desire to find an answer to the existence of man. In phenomenology, she will find a means of confronting reality, free of prejudices. During her intellectual and existential journey, she meets a God that becomes living experience and quenches her thirst for Truth. She completes (...) her contemplation of the philosophical being by means of a mystic contemplation of Being. Her philosophical activity is a road that leads "from finite being to eternal being". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BALTHASAR AND ECKHART: THEOLOGICAL PRINCIPLES AND CATHOLICITY CYRIL O'REGAN Yale University New Haven, Connecticut Or pleas'd to wound, and yet afraid to strike, Just hint a Fault, and hesitate Dislike; Alike reserv'd to blame or to commend, A tim'rous Foe and a suspitious Friend 1 THE TENDENCY to avoid exclusion is a mark of the thought of Hans Urs von Balthasar. It represents an identifying habit, an incorrigible feature (...) of style and sensibility. His texts in which theologians, philosophers, poets, dramatists, and saints are christianly praised give testimony to a catholicity that barely brooks limits. Not only in true Gospel fashion are a multitude invited to the eschatological banquet, they constitute the vast medium of tradition, in which Maximus the Confessor rubs shoulders with Plato, in the company of Claudel, Calderon, and Therese of Lisieux. At different times Balthasar thinks of the tradition as one huge symphony in which notes sound only to be transcended and as a conversation between particular perspectives on the great mystery of redemption, no one of which is final and which meet only in the infinity of their object. The decision for plurality and variety in the tradition certainly validates difference and counts against its reduction.2 Yet at the same time tradition, precisely as a matter of variety, exhibits a measure of coherence or concordance that pro1 These couplets are from Alexander Pope's poem Atticus. See Minor Poems, ed. Norman Ault, completed by John Butt (London: Methuen & Co. Ltd.; New Haven: Yale University Press, 1954), p. 143. 2 See, for example, The Theology of Karl Barth, trans. Edward T. Oakes, S.J. (San Francisco: Ignatius Press, 1992), pp. 39, 187, 251. 203 204 CYRIL O'REGAN hibits difference from becoming truly excessive. It is this prohibition of excessive difference in Balthasar's reading of tradition that I would like to examine here. I take as my case study of Balthasar's rhetoric of reading his conflicted response to Meister Eckhart, about whose inclusion in the Christian tradition Balthasar expresses no doubts, yet whose theological message is such as to cause anxiety. We shall occupy ourselves in this paper with the way in which Eckhart's nonnegotiable inclusion within the tradition serves to repress the account of those features that present a fundamental challenge, that represent difference that would make the Christian field radically heterogeneous. In the first two sections, focusing mainly on the fifth volume of The Glory of the Lord (=GL),3 I shall offer outlines of both the positive and negative contributions Eckhart is deemed to have made to the theological tradition. Though I do not wish to give the impression of Scholastic pro and contra, Balthasar's positive remarks being imbricated with the negative and vice versa, it will be suggested that the elements adduced in both cases constitute mirror images of each other. Balthasar takes a bifocal, though not stereoscopic, view of a group of five elements: aesthetic disposition, the sameness of Being and God, the whylessness of the divine, Gelassenheit, and Gottesgeburt. This group is in effect read twice, once in a way that affirms and confirms Eckhart's unproblematic inclusion in the tradition (section 1), and again in a way that, in the light of basic Christian principles, raises serious questions about such inclusion (section 2). In a final section the question is raised whether the conflict in interpretation suggests a deeper underlying conflict between Balthasarian commitment to Catholic theological principles and catholicity. I. BALTHASAR'S AFFIRMATIVE RENDERING OF ECKHART On the surface there is little reservation about the approbation Eckhart receives in the fifth volume of The Glory of the 3 The Glory ofthe Lord: A Theological Aesthetics, vol. S, The Realm ofMetaphysics in the Modern Age, trans. Oliver Davies, Andrew Louth, Brian McNeil, C.R.V., John Saward, and Rowan Williams, ed. Brian McNeil, C.R.V. and John Riches (San Francisco: Ignatius Press, 1991). BALTHASAR AND ECKHART 205 Lord. If the depths of Balthasar's analyses of the medievals in his volumes on metaphysics (vols. 4 & 5) never reach the level of his account of Anselm and Bonaventure in volume two, it would be caviling to suggest that his intention at the... (shrink)

Resumen: El objetivo de la investigación es describir las diferentes maneras de concebir el paisaje. Para ello, fueron analizadas, fichadas y discutidas múltiples fuentes de información, seleccionándose los planteamientos más expresivos de la racionalidad teórica desde la cual el paisaje es concebido. Se encontró que, habiendo nacido el paisaje de la pintura de la Edad Media, hoy día es estudiado como representación artística por la estética, como geosistema por la geografía, como ecosistema por la ecología y como apropiación subjetiva del (...) territorio por la sociología, la antropología y la semiótica. Pero la experiencia paisajística contemplativa realizada predominantemente bajo formas estéticas no es una perspectiva suficientemente atendida a pesar de que, junto con la representación artística del paisaje, constituye la perspectiva más fidedigna del concepto de paisaje.: The objective is to describe different landscape approaches. To carry this out, multiple information sources were analysed, recorded and discussed, selecting the most expressive approaches of the theoretical rationality from which the landscape is conceived. It was found that having the painting landscape born in the Middle Ages, it is studied today by aesthetics as an artistic representation, as a geosystem by geography, as an ecosystem by ecology and as a subjective appropriation of the territory by sociology, anthropology and semiotics. However, the contemplative landscape experience was predominantly carried out under aesthetic form, but it is not a perspective sufficiently attended. Alongside with the artistic representation of the landscape, constitutes the most reliable perspective of the landscape concept. (shrink)

Míguez Barciela, A.: La visión de la Odisea, La Oficina, Madrid, 2014, 272 pp.; Mortal y Fúnebre. Leer la Ilíada, Dioptrías, Madrid, 2016, 206 pp.

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 ..

In 2022, the Brazilian Armed Forces reaffirmed an old interventionist ideology that marked the history of the Republic of Brazil. The text seeks to show that such military ideology does not find a pretext in the history of modern political ideas. Thomas Hobbes (1588-1679), at first, and then Benjamin Constant (1767-1830), two ideologists who shaped today's understanding of the State, understand representative institutions in disagreement with any non-submission of the FFAA to Political Power. In this way, the ideology of military (...) intervention is, according to the history of ideas, incompatible with the modern conception of the State. (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)

Los castillos ideológicos pueden parecer fortalezas inexpugnables, construidas sobre sólidas verdades, pero la historia nos da abundantes ejemplos de su desmoronamiento, debido simplemente a que no responden a lo que realmente son el hombre y el mundo, a la verdad objetiva de las cosas.

In this paper I explore whether three different approaches to connexivity – namely, Lewis and Langford’s, Wansing’s and Egré and Politzer’s – can be non-trivially related. Lewis and Langford’s approach consists of the definition of the conditional in terms of consistency via the definition of possibility in terms of consistency and Lewis’ definition of the (strict) conditional in terms of possibility; Wansing’s approach is based on his definition of the falsity condition for the conditional as “if A is true then (...) B is false”; Egré and Politzer’s approach relies on the modalization of the falsity condition for the conditional in its conditional form (A→◇~B). With this background in mind, I build upon Estrada-González’s work relating connexivism and possibilism, the thesis according to which everything is possible. Estrada-González’s work relates Lewis and Langford’s connexive approach with Nelson’s idea that every proposition is self-consistent. He does so using a fragment of LP augmented with a special conditional. This relation has resulted in the study and postulation of several truth-functional modalities, some of which have already been discussed elsewhere. I employ several truth-functional modalities to evaluate Egré and Politzer’s falsity conditions for the conditional. I show that in using Béziau’s truth-functional modality ◇B, definable in Estrada-González’s framework, one can retain in a single framework the three different approaches. More specifically, distinguishing the notion of logical equivalence from the notion of interderivability and these two from the notion of coimplication, it is possible to relate ~(A→B) and (A→◇~B) as interderivable schemas and in a valid biconditional. I also show some consequences of this for Béziau’s negative appraisal of three-valued truthfunctional modalities. (shrink)

The object of study of mass media anthropology is the system of transmission of culture through mass media. Mass media anthropology is a field within the discipline dealing with the relationship beteween the mass media and culture. The specific point of this relationship is how culture is transmitt..

Este artículo reseña: Benjamín RIVAYA GARCÍA, Los derechos humanos en el cine, Palestra Editores.

A partir del estudio de caso de dos fosas comunes exhumadas en un pequeño pueblo con ocho años de diferencia, me abordo la transformación de las exhumaciones de la Guerra Civil en España en la primera década del siglo XXI. La súbita aparición en la esfera pública de los esqueletos de civiles ejecutados por paramilitares franquistas ha suscitado acalorados debates sobre la forma de gestionar dichos restos en un estado democrático consolidado, y sobre la interpretación que debe darse a las (...) iniciativas judiciales e institucionales que se han derivado de este proceso, a veces muy controvertidas. La peculiaridad del «modelo de subcontratación de los derechos humanos» que se sigue en España en relación con los crímenes de la Guerra Civil se sitúa en una perspectiva comparativa en el marco de los discursos y las prácticas transnacionales en materia de derechos humanos. (shrink)

Purpose Late in 2019, massive protest demonstrations rocked both Chile and Colombia. They were an expression of discontent with the economic model and social policies implemented in both countries in recent decades. The purpose of this study is to investigate how Chilean and Colombian news websites framed these social protests and what aspects of the social movements promoted these media to public opinion. Design/methodology/approach The methodology of this research is empirical; the authors use quantitative and discourse analysis techniques to study (...) the news published by the top three most visited main news websites in each country and deduce the main frameworks emerging from them. After analyzing the framing of reality by media in 4,252 news items, the authors suggest that the main news portals in these Latin American countries not only portrayed the collective actions but also promoted interpretations that did not necessarily reflect the demands of the demonstrations. Findings The findings were that in the 2019 protests in Chile and Colombia, the media approach to collective action was not necessarily positive for the activists. This was mainly because framing in the Chilean and Colombian websites had to do with negative aspects of the movements, such as violence or economic costs. Originality/value The originality and value of this research is that despite the fact that there are abundant case studies on the relationship between social movements and media framing in the literature, this study adds to the current knowledge because it compares two Latin American countries and focuses on Web news portals. (shrink)

In this paper, linguistic-analytic philosophy has been identified as the dominant methodology in the philosophy of sport. The hermeneutics of sport is contrasted with linguistic-analytic philosophy by analyzing Heidegger’s view of Truth. In doing so, two views of philosophy are compared: ontology or description. Sport hermeneutics’ task has to do with description. Hermeneutical explanations of sport attempt to describe the facticity of sport. Such a facticity is formed by three moments: embodiment, capabilities, and tradition. They are not components of sport (...) that can be identified as essential components but rather, they are identifiable only for analytic purposes. These three above-mentioned elements cannot be identified as elements, because they are intrinsically intertwined forming a unitary network of meaning. The task of sport hermeneutics is to describe the different relationships that compose such a network of meaning. In doing so, sport is a humane activity linked to the constitutive human task of making sense of reality by projecting meaning into it. (shrink)

a central thesis of martin heidegger's first reading of a Platonic dialogue, the 1924/25 course on the Sophist, was that, "for the Greeks, being means precisely to be present, to be in the present [Anwesend-sein, Gegenwärtig-sein]."1 Heidegger saw this Greek interpretation of being as leading to Plato's specific interpretation of being as eidos or idea. Heidegger makes this clear in the following passage from another Plato course, the 1931–32 course On the Essence of Truth: "'Idea' is the look [der Anblick] (...) of what something offers itself as being. These looks [Anblicke] are that in which the individual thing presents itself as this or that, that in which it is present and presencing [präsent und anwesend].... (shrink)

La obra de Jorge Luis Borges (1899-1986) siempre suele relacionarse con la de autores ajenos a la literatura española como De Quincey, Stevenson, Whitman, Chesterton, Coleridge o Poe. Su anglofilia es bien conocida por todos. También su relación con el idioma de Goethe o con la cultura árabe y Las mil y una noches. Sin embargo, asumiendo su propia sentencia «Mi destino es la lengua castellana, el bronce de Francisco de Quevedo», rastrearemos las huellas indelebles que dejó la literatura (...) española del Barroco y de los Siglos de Oro en la obra del escritor argentino, y cómo los símbolos del siglo XVII son recuperados desde la literatura reconstructivista de Borges para continuar con una tradición y al mismo tiempo transformar su significado. (shrink)