En este artículo se aborda la distinción contemporánea en filosofía de la ciencia entre una lógica del descubrimiento y una lógica de la investigación. Tal distinción opone el descubrimiento como acción creadora a la actividad científica. A partir de la distinción entre lógica y razonamiento, se sugiere que es plausible recuperar el descubrimiento como parte de la actividad científica, contrario a planteamientos como los de Popper.

El propósito de este artículo es desarrollar una relectura al mecanicismo moderno. Esto implica que una adecuada comprensión de este consiste, ante todo, en considerarlo como un proyecto antes que un sistema doctrinal consolidado. Para ello se toma como eje la filosofía de Leibniz, la cual, a diferencia del cartesianismo, identifica las inconsistencias que implica concebir el mecanicismo como un sistema filosófico completo, principalmente al pretender justificar mecánicamente el mundo natural, esto es, a partir de la figura, el tamaño y (...) el movimiento. Todo lo anterior no implica un rechazo completo del mecanicismo por parte de Leibniz, sino que permite concebirlo como un medio para desarrollar su filosofía, proponiendo una complementariedad entre la causa final y la causa eficiente. de este modo, el mecanicismo es reubicado como un problema metodológico para la ciencia natural antes que como un problema metafísico. This article aims to develop a second reading to the modern mechanicism. This implies that an appropriate understanding of mechanicism consists, above all, in considering it as a project, instead of a consolidated doctrinal system. To do so, we take Leibniz's philosophy as our building blocks, since unlike the Cartesianism, it does identify the inconsistencies implied when we conceive mechanicism as a complete philosophical system, mainly under the pretension to justify the natural world mechanically, that is, based on the figure, size and movement. It does not imply that Leibniz rejects entirely mechanicism, but allows us to understand it as a mean to develop his philosophy, proposing a complementary relationship between final cause and efficient cause. This way, mechanicism is re-posed as a methodological issue for the natural science instead of a metaphysical issue. (shrink)

Freezing of gait is a common symptom in the late stages of Parkinson’s disease and related disorders. Videos are the gold standard method to conduct FOG scoring; however, the measurement accuracy of FOG scoring based on videos has not been formally assessed, despite its use in previous studies. This study aimed to calculate the measurement accuracy of video-based FOG scoring. Three evaluators scored the FOG based on 157 video data points collected from 21 patients using an annotation tool. One evaluator (...) measured the intra-rater reliability of the retest. The total duration of observed FOG, percentage of the time spent with FOG during the walking task, and FOG phenotypes were evaluated. Intraclass correlation coefficients were used to determine the intra- and inter-rater reliabilities. The duration of FOG and %FOG showed good measurement accuracy for both intra-rater and inter-rater reliabilities. However, the FOG phenotypes showed poor measurement accuracy in inter-rater reliability. These results indicate that the temporal characteristics of FOG can be scored with a high degree of measurement accuracy, even with different evaluators; conversely, the FOG phenotypes need to be scored by several evaluators. (shrink)

In this paper, we propose a novel medium for interactions based on an interpersonal psychological approach referred to as ‘naïve psychology’. We adopt the visual assessment of clustering tendency (VAT) to naïve psychology for the visual understanding of other people. The VAT algorithm produces a visual display that can be used to assess clustering tendencies in a set of persons (notions) by reconstructing a digital image representation of a square relational dissimilarity matrix for its set. This algorithm clearly represents two (...) types of imbalanced situations in naïve psychology: crisp and fuzzy. The visual image of a balanced or imbalance situation is useful for a deeper human understanding. (shrink)

Kasahara, Javier. “Una relectura leibniziana al mecanicismo.” _Eidos_ 22 (2015): 35-48.

La France est aujourd’hui, avec la Corée du Sud, le plus important marché d’exportation du manga. Partant de rien avec la traduction d’Akira, d’Ôtomo Katsuhiro, en 1990-1991, le manga a conquis en quinze ans 38 % du marché de la bande dessinée dans l’Hexagone. Au 31 décembre 2005, 628 titres de manga, réalisés par 231 auteurs différents,..

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Anime: From Akira to Princess Mononoke: Experiencing Contemporary Japanese AnimationJoseph MurphyAnime: From Akira to Princess Mononoke: Experiencing Contemporary Japanese Animation. By Susan Napier. New York: St. Martin's Press, 2001. Pp. vii + 320.Certain progressions can be marked from Antonia Levi's Samurai from Outer Space in 1996 to Susan Napier's Anime: From Akira to Princess Mononoke: Experiencing Contemporary Japanese Animation in 2001. While both survey the phenomenon of Japanese (...) animation as consumed in North America, the palpable underdog subcultural context and sense of mission in Levi's earlier work has given way to a confident mainstream appreciation in Napier's, with the term "Japanese animation" replaced in English by the naturalized anime (a-ni-mé, pl. anime). In a fast-moving media phenomenon both were dated as soon as they were published; however, bolstered by the worldwide critical and financial success of Miyazaki Hayao's work, and contemporary with the exposure to youth by the rise of 24/7 cartoon networks and the runaway success of the card game-anime nexus, Napier's Anime finds itself still in the right historical moment. Though the book has limitations in terms of both its own systematicity and its treatment of potentially interesting philosophical themes in anime, it is a reliable and sometimes inspired guide to a new phenomenon that forms an increasingly important default in the background your students bring.Napier is concerned not so much with accounting for the visual and perceptual properties of anime as with its narrative qualities: "Japanese animation merits serious consideration as a narrative art form and not simply for its arresting visual style.... Much of this book will be an investigation into the themes, imagery, and ideas of some of the most memorable anime created over the last two decades" (p. 10). The strengths and weaknesses of this book are nicely summed up here. Concentrating on narrative—a formal property of storytelling transposable across media—allows a broad and well-chosen survey of themes, images, and ideas. However, there is some question as to whether this will allow the reader to satisfy the ambition to "understand what makes anime the distinctive art form it is" (p. 10).The book is comprised of twelve chapters in four parts. Part 1 is an introduction that argues for the importance of anime and sketches a quasi-Aristotelian method as the basis for Napier's taxonomy. Parts 2-4 cover major thematic divisions that characterize the particular obsessions, power, and drama of anime, and these are particularly well-chosen to reflect not just the relatively palatable work deemed suitable for TV or subtitled for video distribution in the United States but also the anarchic diversity of the phenomenon as it circulates in Japan. Part 2 is on the essential theme of the changeable body and includes discussion of the monstrous adolescent body, pornographic anime, and the cybernetic body, and will allow you to catch up with classic anime like Akira (1988), Ranma 1/2 (TV version, 1990s), and Ghost in the Shell (theater version, 1996). Part 3 is on fantasy and romance as genres and the unusual [End Page 493] space in anime for female leads, and includes discussion of Miyazaki's pastoral work and the comedy TV series Urusei Yatsura (1980s), Oh My Goddess (1980s), and Video Girl Ai (1990s). Part 4 discusses anime that have sought to make a self-conscious contribution to historical debate, including Barefoot Gen (1983) and Grave of the Fireflies (1988), on the bombing of Japanese cities in World War II, and Miyazaki's Princess Mononoke (1997), which presents a multicultural picture of Japan's past produced in consultation with Japan's leading ethnologists. Discussions are balanced and entertaining, introducing the major auteurs of the last twenty years (Oshii Mamoru, Otomo Katsuhiro, Takahashi Rumiko, etc.) and creating the sharp impression that the genre of anime is not the same as the American concept of "cartoons."Though the anime phenomenon raises interesting sociocultural and critical questions about narrative and image culture, it is not immediately certain that there is a philosophical issue to anime. One might seek this philosophical content within the medium itself or in a systematic quality... (shrink)