Sol LeWitt is probably most famous for wall drawings. They are an extension of work he had done in sculpture and on paper, in which a simple rule specifies permutations and variations of elements. With wall drawings, the rule is given for marks to be made on a wall. We should distinguish these algorithmic works from impossible-to-implement instruction works and works realized by following preparatory sketches. Taking the core feature of a wall drawing to be that it is algorithmic, some (...) of LeWitt's later works are wall drawings in name only. (shrink)

Arthur C. Danto's essays not only critique bodies of work but reflect upon art's conceptual evolution as well, drawing for the reader a kind of "philosophical map" indicating how art and the criteria for judging it has changed over the twentieth century. In _Unnatural Wonders_ the renowned critic finds himself at a point when contemporary art has become wholly pluralistic, even chaotic-with one medium as good as another-and when the moment for the "next thing" has already passed. So the theorist (...) goes in search of contemporary art's most exhilarating achievements, work that bridges the gap between art and life, which, he argues, is now the definitive art of our time. Danto considers the work of such young artists as John Currin and Renee Cox and older living masters including Gerhard Richter and Sol LeWitt. He discusses artists of the New York School, like Philip Guston and Joan Mitchell, and international talents, such as the South African William Kentridge. Danto conducts a frank analysis of Matthew Barney's _The Cremaster Cycle_, Damien Hirst's skeletons and anatomical models, and Barbara Kruger's tchotchke-ready slogans; finds the ghost of Henry James in the work of Barnett Newman; and muses on recent Whitney Biennials and art influenced by 9/11. He argues that aesthetic considerations no longer play a central role in the experience and critique of art. Instead art addresses us in our humanity, as men and women who seek meaning in the "unnatural wonders" of art, a meaning that philosophy and religion are unable to provide. (shrink)

In drawing upon the work of Jacques Derrida, Edmund Husserl and Martin Heidegger and aligning it with a new trend in interdisciplinary phenomenology, Ian Andrews provides a unique and refreshing book. His account of how the composer John Cage and other avant-garde creatives such as Marcel Duchamp, Tristan Tzara, Sol LeWitt and Ed Ruscha used chance in their work to question the structures of experience and prompt a new engagement with these phenomena makes a truly important contribution to Continental philosophy.

Nombreux sont les artistes qui, au cours des années soixante, ont écrit pour la revue Artforum, qui demeure, encore aujourd’hui, l’une des plus importantes publications artistiques. Certains de ces écrits s’inscrivent dans des formats journalistiques, quelques-uns sont des compositions faisant appel à des catégories littéraires, d’autres suivent les formes académiques de l’essai et de la dissertation et, enfin, s’ajoutent à ceux-ci des travaux conceptuels ayant le statut d’œuvres d’art. Cet article étudie la manière dont cette revue a contribué à rendre (...) visible la parole des artistes entre 1962 et 1967, du moment de son émergence jusqu’au numéro d’été où figurent des textes incontournables pour le monde de l’art, tels que « Notes on Sculpture » de Robert Morris, « Towards the Development of an Air Terminal Site » de Robert Smithson, ou encore « Paragraphs on Conceptual Art » de Sol LeWitt. D’après une analyse effectuée sur les cinq volumes parus au cours de cette période, un total de 36 % des articles a été rédigé par des artistes. (shrink)

To engage with the aesthetic is to watch yourself watching and what you see cannot be reached, for all that exists is the reflection of the vision performed by you. The aesthetic experience offers insights into the consciousness that are both ancient and linked to creative inventions in present-day art culture. In "A Place to Know", Margaretha Rossholm Lagerloef interprets twelve recent artworks, from Sol LeWitt to Katharina Grosse. She sets out the unique claims and qualities which are inherent in (...) seeing and understanding contemporary art. The book presents four analytical categories of artwork, charting the character of the aesthetic experience and the traditions that determine how we think about visual art. She peels back the layers of consciousness to lay bare the forgotten seams of experience, interwoven with artistic expression. The ancient thus arcs into a deepened awareness of avant-garde art. (shrink)

Conservation problems can reveal unsuspected complexities in the ontological make-up of modern and contemporary artworks. Using a problem in the conservation of one of Sol LeWitt’s Wall Drawings as my starting point, I argue that Goodman’s well-known and often criticized distinction between autographic and allographic art can be fruitfully used to articulate the different options in conservation dilemmas, but only if used in a non-disjunctive way and in the context of a biographical approach to the works under consideration.

La categoría ‘arte conceptual’ se aplica a una gran cantidad de obras de arte contemporáneo. El artista Sol LeWitt introdujo el término en la jerga del arte al describir obras de arte donde “la idea o el concepto es el aspecto más importante de la obra” (LeWitt 1967: 79, traducción mía). Inicialmente, el término se utilizó para referirse a obras producidas entre finales de los años sesenta y principios de los setenta por artistas como Sol LeWitt, Robert Barry, Lawrence Weiner, (...) On Kawara, Joseph Kosuth, John Baldessari, el grupo Art & Language y otros (véase Lippard 1973). En España fueron relevantes el Grup de Treball, Zaj o Esther Ferrer entre otros. Más tarde se hizo evidente no solo que obras como Fuente (1917) de Marcel Duchamp – un urinario de porcelana, que fue firmado “R. Mutt” y presentado para una exposición de la Sociedad de Artistas Independientes – tenían mucho en común con aquellas producidas a finales de la década de 1960 y principios de la de 1970, sino también que obras de arte conceptual continuaron siendo producidas a lo largo de la década de 1970 y las décadas siguientes, hasta el punto de que podría argumentarse que gran parte del arte contemporáneo es, en cierta medida, conceptual. -/- Es característico de los primeros autores conceptuales el uso del lenguaje natural en obras que son en principio visuales o plásticas, como las frases de Weiner, las definiciones de Kosuth o los ensayos de Art&Language. Se trata de un interés por el significado y el lenguaje heredado de la semiótica y la filosofía analítica de la época. También señala el énfasis (a menudo exclusivo) de todas las obras de arte conceptual en el elemento conceptual, como ocurre en los dibujos y pinturas murales de LeWitt, donde el artista produjo las instrucciones para su ejecución, luego las realizó en colaboración con otros, o transfirió completamente a otros esta tarea. Otra característica de las primeras obras de arte conceptual es que los artistas no manipularon ningún material para producir un objeto (como en Fuente de Duchamp) o usaron materiales excéntricos como el lenguaje natural, su propio cuerpo -como en I am the locus (# 1) (1975) de Adrian Piper, una performance en la que la artista se pegó un bigote en la cara, se puso una peluca Afro y anteojos redondos con montura de alambre y caminó en las calles actuando como un hombre-, o el chocolate con el que Anya Gallaccio revistió las paredes de un viejo edificio agrícola en Stroke (2004), dejando que el público las tocara y que el chocolate se pudriese. -/- Debido a sus características inusuales, el arte conceptual plantea muchas preguntas filosóficas: sobre la definición de arte, sobre la ontología y los medios de las obras de arte y sobre nuestra experiencia apreciativa de ellas. En lo que sigue, presentaré brevemente cada uno de estos temas. (shrink)

The article engages with the video installation Madame B by Mieke Bal and Michelle Williams Gamaker. The work was premiered in the city of Łódź in Poland. The author makes use of the exhibition brochure by two artists published by the Museum of Modern Art, and the recording of a seminar held by Bal and Williams Gamaker after launching their work. The article focuses on the innovative audiovisual interpretation of Flaubert’s famous novel. Basing the argument on the concept of framing (...) created by Bal, the author applies it to Bal and Williams Gamaker’s exhibition by relating it to the history and culture of the Polish location where it was first shown. Above all, however, the article discusses the importance of quotation and indistinction in Madame B, where the artists quote from : Louise Bourgeois, Maya Deren, Artemisia Gentileschi, Charlotte Perkins Gilman, William Kentridge and Sol LeWitt. (shrink)

Research on reported speech in classrooms has focused on the roles and functions of quoted conversation produced by the teacher; however, there is less information on the responses following this device and its multimodal character. This study draws on a multimodal conversation analysis approach to investigate teachers’ use of reported speech in evaluating students’ performances by examining 83 hours of videotaped elementary school classroom interactions in Korea. The findings suggest that teachers frequently employ reported speech in the evaluative element of (...) the three-turn instructional sequence to create an affiliative atmosphere in the event of a negative assessment. Sequences that contained reported speech were compared with teachers’ evaluations produced by simply repeating students’ answers. The findings suggest that the multimodal production of reported speech might be a tool adapted for the classroom institutional context by creating a positive space for learning compared to other similar devices available in the classroom. (shrink)

This article explores the connection among woman, sex, and finitude. In stuying finitude, the argument follows the articulation of finitude with woman. In a first part, it discusses three “women” writers—Virginia Woolf, Simone De Beauvoir, and Hélène Cixous—to establish their thoughts on woman in terms of finitude. The three of them are identified as women and yet they problematized what to be a woman is. In tracing their thoughts on finitude and woman, sexual difference –the body as enjoying emerges as (...) an issue. Thus, in a second part, it discusses two seemingly opposed positions—Lacanian psychoanalysis, with Joan Copjec, and deconstruction, with Derrida—to think further about the question of woman, sexual difference, the “two,” and finitude. This study compares the Lacanian feminine side with the movement of deconstruction and establishes the necessity of thinking a “two” beyond the binary of phallogocentrism. My thesis is that thinking finitude with woman leads us to a non-oppositional two that correlates with sexual difference. The Lacanian feminine side, and Derrida’s deconstruction aim to think these two logics, delineating two sides: a male one (comparable with phallogocentrism) and a feminine side (comparable with the movement of deconstruction). If the male side considers finitude (death) as the limit of life, the feminine side opens to death and life, and the in-finitude of the undetermined and undecidable. In thinking finitude with woman, the knowledge of what to be a woman is, becomes undetermined and undecidable. (shrink)

Diálogo con Daniel Balderston, director del Borges Center de la University of Pittsburgh y de la revista Variaciones Borges, que ofreció una conferencia titulada “Una tarde con Borges” en la Villa Victoria Ocampo de la ciudad de Mar del Plata el 6 de julio de 2022.

Scholarly tributes of the international world of academe in Philosophy, the History of Ideas and Religion on the occasion of the 30th anniversary of service of Professor Arthur Hyman to the Philosophy Department at Columbia University.

RESUMEN Los casos de "ver-como", presentados por Wittgenstein en la Segunda Parte de Philosophical Investigations, muestran que el concepto de "ver" se encuentra cercano al de "interpretar" y resiste su separación. El presente artículo propone un argumento para aclarar la noción de "interpretación" presente en estos casos, a partir de su comparación con los usos presentes en el Tractatus y en la Primera Parte de Philosophical Investigations. Se sostiene que dicha noción cumple el rol de determinar el sentido de lo (...) visualmente experimentado. Además, "ver" e "interpretar" mantienen un tipo de relación interna y "ver-como" puede considerarse como una "representación elástica". ABSTRACT The "seeing-as" cases, presented by Wittgenstein in the Second Part of Philosophical Investigations, show that the concept of 'seeing' is close to that of 'interpretation' and resists its separation. This article proposes an argument to clarify the notion of 'interpretation' present in these cases, from its comparison with the uses present in the Tractatus and in the First Part of Philosophical Investigations. It is argued that this notion fulfills the role of determining the sense of the visually experienced. In addition, 'to see' and 'to interpret' maintain a type of internal relationship and 'seeing-as' can be considered an "elastic representation". (shrink)

In this essay, after first briefly reviewing the literature on experimental philosophy and how and why it is important especially for contemporary analytic philosophy, we focus on two earliest experimental research papers on free will intuitions. We also present psychological mechanisms that try to explain why both philosophers and ordinary people have incompatibilist and compatibilist intuitions and free will and moral responsibility. We then move on to another experimental research on moral intuitions and develop a dual process model based on (...) the model to explain moral intuitions. However, our dual interacting-process model is not intended for moral intuitions but free will intuitions. Finally, we critically examine other mechanism and briefly defend our model. (shrink)

Calls for taking up wisdom in its place risk re-inscribing coloniality at the level of signification if attempts to resituate intelligibility in the specificity of place are not enacted through a careful translation of experience between victims and perpetrators of colonial violence. At some level, decolonization ought to be conceived as a kind of translation. Emmanuel Levinas’ project to “translate” Judaism into Greek is one way of staging such decolonial translation by providing us an internal critique of coloniality while remaining (...) receptive to indigenous inspirations that enrich eco-phenomenological ways of encountering place. In the final instance, however, this paper calls for encountering place through the indigenous languages that make place ethically legible. (shrink)

After a description of the method of mathematics and empirical sciences, brief but explicit enough to show their limits with philosophical and theological reflection, I comment the harmonic relations of mutual help among them, and also, unfortunately, the historical occasions in which these limits have been trespassed. And after a fast view of the image of the world–matter and life–presented to us by nowadays established science, I recall the main items of opposition to faith posed by science, although sometimes just (...) promised science. I show that today’s science is in complete harmony with faith and that these items only show the opposition with faith of the materialistic philosophical points of view of some of the divulgators, not really opposition of established science. Finally we discuss that Aristotelian hylomorphism, posing form in matter, is more suited to dialog with present science than philosophies of Kantian inspiration posing form only in our knowledge or in our scientific theories. (shrink)

Pocos clásicos están tan vivos, tienen tanto que decirnos, como Michel de Montaigne, autor de los Ensayos. De su mano, este libro intenta dar respuesta a una pregunta que a todos nos concierne: ¿cómo vivir, felizmente, una vida humana? A veces los clásicos se vuelven meros monumentos, fríos y distantes tras su fama y prestigio. Nada más lejos de los Ensayos, que aún hoy dialogan con el lector que se adentra en sus páginas. Si en ellos Montaigne se propuso la (...) audaz empresa de pintarse a sí mismo, de conocerse a fondo y darse a conocer a los demás, de descubrirse, al hacerlo descubrió al hombre entero: saliendo en busca de sí mismo, Montaigne nos encontró a todos. Es este un ensayo -en el sentido más montañesco de la palabra: una meditación personal, libre y dispersa- alejado de toda pretensión académica o formal. Fragmentos de fácil lectura que nos invitan a volver a ese país privilegiado que es Montaigne o, por qué no, a conocerlo por primera vez. En Nada hago sin alegría, Pablo Sol Mora nos brinda una lectura personal y comprometida del que tal vez sea el autor más radicalmente personal de la literatura universal: una apuesta por la felicidad y el placer en la compañía de uno de los mayores conocedores del alma humana. Este libro incluye, comentados y explicados, los fragmentos más significativos de los Ensayos de Montaigne." -- page [4] of cover. (shrink)

LAMAS, Marta. Acoso. ¿Denuncia legítima o victimización? México, Fondo de Cultura Económica, 2018, 118 pp.

This article analyzes in depth the general context of the teaching of the minority religions in the Spanish State. We focus on the specific case of andalusia (extensible to the Spanish case), and on two of the three religions that have signed Cooperation agreements with the Spanish State: the Evangelical and the Islamic religions. The legislative framework guarantees the parents the right to religious and moral education for their children, according to their beliefs, in public schools. However, putting these rights (...) in practice is being insignificant in the more and more plural and multireligious Spanish society. (shrink)

RESUMENLos preámbulos son introducciones cortas que manifiestan, en términos generales, el propósito y contexto de una constitución. Su contenido presenta una gran variedad de temas que reflejan el momento histórico y la ideología que dio origen al marco legal de un país. En este artículo utilizamos el análisis crítico del discurso para examinar los preámbulos de las constituciones de Bolivia y Ecuador y planteamos que ambos son ejemplos claros de pensamiento decolonial. Nos hemos centrado en tres aspectos del pensamiento decolonial: (...) biocentrismo, plurinacionalismo y visibilidad del género social. Este artículo también muestra que la traducción inglesa de estos preámbulos falla en transmitir su propuesta epistemológica. (shrink)

La sostenibilidad ambiental está relacionada directamente con el ciclo del agua y las intervenciones del hombre sobre el mismo, tanto en su extracción, uso y eliminación. La conservación del suelo y la vegetación dependen invariablemente del impacto acumulado de este proceso. La perspectiva de un cambio climático mayor, con el subsecuente aumento de las temperaturas en el planeta, implica transformaciones radicales en el ciclo del agua, y por ende, en su disponibilidad y utilización. Para ello se hace imperioso mejorar radicalmente (...) el ahorro del agua, aumentando al mismo tiempo los sistemas de depuración y eficiencia en el regadío. La autora propone una seria de medidas en esta dirección. (shrink)

Father Ignacio Ellacuría was a Spanish Jesuit philosopher and the most important disciple of another great Spanish philosopher, Xavier Zubiri. Ellacuría was sent to El Salvador in 1949 at eighteen, and after degrees in humanities, philosophy, and theology in Ecuador and Austria, he travelled to Spain in 1962 for doctoral studies with Zubiri. There he became perhaps the leading specialist on Zubiri’s philosophy, which first analyzes reality as a dynamically structured epigenetic system tracing its emergence from material through organic to (...) historical reality, and second, which postulates the concept of sentient intelligence through which we are able to apprehend reality as reality. Upon returning to El Salvador in 1967, Ellacuría used Zubiri’s philosophical system to develop a powerful analysis of Latin America’s complicated historical reality during the 1960’s, 70’s, and 80’s. Ellacuría’s extraordinary output touched many different fields: philosophy, theology, political analysis, and his role as President of the UCA in defense of the poor, and as peacemaker during the Civil War in El Salvador. He was assassinated with five other Jesuits and two women housekeepers by Salvadoran soldiers on November 16th 1989. (shrink)

In what follows I explore the question of fictionality in history writing. First, I venture into the unfamiliar genre of ego-histoire and make my own professional training in the tenets of positivist or realist historiography an object of theoretical reflection and critical analysis. Then as a way of dealing with the literary dimension of written history, I make a canonical work in history of education an object of rhetorical analysis. Finally, as another way of coming to terms with the “fictions (...) of historiography,” I revisit one of my own productions and make it an object of metacritical consideration. My central theme is that historiographical realism alone will not suffice, that historians are as dependant upon literary invention as upon documents, that history cannot be written without the aid of the “fictions of historiography,” and that the difference between the historian and the novelist is narrower than we may have been accustomed to think. I further argue that attention to the literary or rhetorical dimension of history is long overdue in history of education, where it flourishes unacknowledged. I conclude that historical writing is not just a literary pastime and the issue remains: how to come to grips with fictionalizing and the truth claims of historiography. (shrink)

This work is a dialogical exercise between Georges Bataille, Maurice Blanchot and Didi-Huberman. The notion of revolt and the surrealist movement will be postulated as central axes of this dialogue. The hypothesis that guides this text is the possible relation between the unsolvable and sovereignty through desire. The surrealism will be recognized as a theoretical-aesthetic background from which these philosophers are nourished and positioned, either as referents or readers. We will analyze the networks woven between the following concepts: sovereignty, revolt (...) and submission. And, finally, we will think of the sphere of desire as that ontological substratum that allows human sovereignty to survive. (shrink)

Este artículo busca mostrar que en la filosofía de Simone Weil es esencial la reflexión sobre la noción de trabajo. La autora ve con claridad que cuando el trabajo se vuel-ve alienado conduce a la opresión social. Y esto es terrible para el trabajador, ya que le priva de su propia dignidad. El trabajo alienado es consecuencia de la racionalización del trabajo y del maquinismo. De este modo, hace que quienes lo sufren experimenten un sentimiento de esclavitud y pérdida de (...) su dignidad. Es visto como algo que les es impuesto y de lo que no pueden escapar. El verdadero trabajo, por el contrario, es creativo porque no obliga a la persona a dejar de pensar. Más bien garantiza la unidad entre el pensamiento y la acción. (shrink)