Estudio Bibliográfico de / A Bibliographical Study of: José M. Sevilla, Ragione narrativa e ragione storica. Una prospettiva vichiana su Ortega y Gasset. Introducción de Giuseppe Cacciatore. Guerra Edizioni, Perugia, 2002, pp. 269. I.S.B.N. 88-7715-615-5.

Name der Zeitschrift: Nietzsche-Studien Jahrgang: 43 Heft: 1 Seiten: 195-199.

After reviewing the historical fortune of Nietzsche as a political thinker, it is discussed what aspects of his philosophy can be most useful for the deployment of a pluralist democracy, in the sense of political agonism claimed today by some of his interpreters. But the reasons why an articulation of democracy and aristocratic culture is coagulated in his philosophy are also pointed out. For this, the question of the agon in Nietzsche is approached and its discrepancy with the Schmittian idea (...) of the friend-enemy pair, as distinctive of the essence of the political, is pointed out, thus placing the Nietzschean critique of modernity in perspective. (shrink)

Estudio Bibliográfico de / A Bibliographical Study of: José M. Sevilla, Ragione narrativa e ragione storica. Una prospettiva vichiana su Ortega y Gasset. Introducción de Giuseppe Cacciatore. Guerra Edizioni, Perugia, 2002, pp. 269. I.S.B.N. 88-7715-615-5.

Estudio bibliográfico y crítico de / A bibliographical and critical study of: Vincenzo Vitiello, La favola di Cadmo. La storia tra scienza e mito da Blumenberg a Vico, Laterza , Bari, 1998. pp. 180.

Concebir la nietzscheana voluntad de poder como amor es a la vez un desafío y un reconocimiento. A las páginas de esta obra se asoman las "Madres" de Fausto y los tristes héroes de Milan Kundera. Al fondo, quedamente y llena de gracia, se vislumbra la huella de Friedrich Hölderlin.

En este trabajo de investigación ofrecemos un estudio pormenorizado del colegio de Santa Joaquina de Vedruna de Sevilla, de la Fundación Vedruna, desde su creación en 1880 –entonces con el nombre de San Joaquín en la calle Bustos Tavera– hasta el día de hoy en el barrio de Nervión. En primer lugar, analizamos el fenómeno de las nuevas congregaciones religiosas femeninas en el siglo XIX y su instalación en España y Andalucía. El un segundo momento, nos acercamos a la (...) presencia de las Carmelitas de la Caridad en Andalucía para terminar con el estudio del colegio de Santa Joaquina de Vedruna. (shrink)

Anti-exceptionalism about logic states that logical theories have no special epistemological status. Such theories are continuous with scientific theories. Contemporary anti-exceptionalists include the semantic paradoxes as a part of the elements to accept a logical theory. Exploring the Buenos Aires Plan, the recent development of the metainferential hierarchy of ST\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$${\mathbf {ST}}$$\end{document}-logics shows that there are multiple options to deal with such paradoxes. There is a whole ST\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} (...) \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$${\mathbf {ST}}$$\end{document}-based hierarchy, of which LP\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$${\mathbf {LP}}$$\end{document} and ST\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$${\mathbf {ST}}$$\end{document} themselves are only the first steps. This means that the logics in this hierarchy are also options to analyze the inferential patterns allowed in a language that contains its own truth predicate. This paper explores these responses analyzing some reasons to go beyond the first steps. We show that LP\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$${\mathbf {LP}}$$\end{document}, ST\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$${\mathbf {ST}}$$\end{document} and the logics of the ST\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$${\mathbf {ST}}$$\end{document}-hierarchy offer different diagnoses for the same evidence: the inferences and metainferences the agents endorse in the presence of the truth-predicate. But even if the data are not enough to adopt one of these logics, there are other elements to evaluate the revision of classical logic. Which is the best explanation for the logical principles to deal with semantic paradoxes? How close should we be to classical logic? And mainly, how could a logic obey the validities it contains? From an anti-exceptionalist perspective, we argue that ST\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$${\mathbf {ST}}$$\end{document}-metainferential logics in general—and STTω\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$${\mathbf {STT}}_{\omega }$$\end{document} in particular—are the best available options to explain the inferential principles involved with the notion of truth. (shrink)

Ensayo bibliográfico de la obra de Manuel Barrios Casares, _La vida como ensayo y otros ensayos. Kundera, Benjamin, Ortega_ (Sevilla, Athenaica Ediciones, 2022).

This article has a twofold purpose: first, it explores how Leonardo Polo's personalist anthropology enriches and enhances neo-Aristotelian virtue ethics and second, it highlights how this specific personalist approach brings new perspectives to servant leadership. The recently revived neo-Aristotelian virtue ethics tradition finds that MacIntyre's scholarship significantly contributes to virtue ethics in business—particularly his conception of practices, institutions, and internal/external goods. However, we argue that some of his latest insights about the virtues of acknowledged dependence and human vulnerability remain underdeveloped (...) because of the underlying anthropology that neo-Aristotelian virtue ethics relies on. To overcome this limitation, we introduce Polo's transcendental anthropology as a possible foundation of a personalist approach that enriches virtue ethics. To do so, we address how transcendental anthropology can enrich two central aspects of virtue ethics, namely (1) the understanding of human beings and their flourishing and (2) the relationship of virtue to praxis and human work. Finally, to address the practical implications for business leadership and work that can derive from assuming transcendental anthropology, we address how servant leadership acquires a new perspective in light of this personalism and its logic of gift, highlighting interpersonal self-giving as a way of service. (shrink)

Sobre los pasajes concretos de la Historia authéntica, de Luis Francisco de Viana y Bustos y Joseph Juan de Laboraría, canónigos del Sacromonte de Granada, se evoca la condenación de la memoria que esta institución hace para la historia, del padre Ignacio de las Casas. Éste, jesuita granadino, morisco de nación, misionero con sus hermanos y trabajador social por donde pasó, campos en los que ganó merecido prestigio, se significó como acérrimo refutador de las invenciones de la Torre Turpiana y (...) Valparaíso de fines del siglo XVI. El arzobispo Pedro de Castro lo persiguió en vida y, luego, decidió para los siglos posteriores la estigmatización de su memoria, que implicaba el falseamiento y envilecimiento de su biografía. La Historia authéntica, defensorio escrito en 1756, es la mejor expresión del fanático cumplimiento de ese mandato del fundador carismático, siglo y medio después de los hallazgos. (shrink)

El presente artículo trata de presentar la edición que el Prof. Manuel Barrios Casares ha llevado a cabo del texto de Hugo Ball sobre Nietzsche, redactado en un principio en el marco de un proyecto de tesis doctoral entre 1909 y 1910. A la traducción y anotación del texto antecede un extenso prólogo sumamente interesante para su comprensión y contextualización. Hugo Ball, promotor del dadaísmo y amigo de Kandinsky, plasma en el texto el clima intelectual de la (...) recepción del pensamiento de Nietzsche entre las vanguardias artísticas europeas de principios del siglo XX. (shrink)

Este artículo explora el valor que las nociones y estrategias espaciales pueden tener para transitar hacia una sociedad poscapitalista. La expansión planetaria del capital, conocida habitualmente como globalización, ha estado acompañada por la extensión planetaria de la urbanización, hasta el punto de que ambas resultan inseparables. Como ha sido reiteradamente teorizado por geógrafos y urbanistas como Henri Lefebvre, David Harvey o Manuel de Solà-Morales, la urbanización no es una súper estructura cultural, sino un factor de producción que ha actuado (...) como motor fundamental del desarrollo capitalista. La posibilidad de una sociedad poscapitalista requiere, por lo tanto, cuestionar la idea de urbanización y desarrollar categorías alternativas. Este artículo examina la noción de territorio y el valor del diseño territorial como agentes de cambio que permiten desarrollar una biopolítica positiva y nuevos vínculos entre condiciones y singularidades locales, procesos y problemas globales. (shrink)

Recommending the identity of bidders in public procurement auctions has a significant impact in many areas of public procurement, but it has not yet been studied in depth. A bidders recommender would be a very beneficial tool because a supplier can search appropriate tenders and, vice versa, a public procurement agency can discover automatically unknown companies which are suitable for its tender. This paper develops a pioneering algorithm to recommend potential bidders using a machine learning method, particularly a random forest (...) classifier. The bidders recommender is described theoretically, so it can be implemented or adapted to any particular situation. It has been successfully validated with a case study: an actual Spanish tender dataset which has 102,087 tenders from 2014 to 2020 and a company dataset which has 1,353,213 Spanish companies. Quantitative, graphical, and statistical descriptions of both datasets are presented. The results of the case study were satisfactory: the winning bidding company is within the recommended companies group, from 24% to 38% of the tenders, according to different test conditions and scenarios. (shrink)

The aim of our experiment was to analyse the effect of the emotional valence (positive, negative, or neutral) on true and false recognition, matching the arousal, frequency, concreteness, and associative strength of the study and recognition words. Fifty younger adults and 46 healthy older adults performed three study tasks (with words of different valence: positive, negative, neutral) and their corresponding recognition tests. Two weeks later, they performed the three recognition tests again. The results show that words with a negative valence (...) produced less true recognition and less false recognition than words with a positive or neutral valence, in both younger and older adults, on the immediate recognition test. This pattern of results was also found in the younger adults on the delayed recognition test, whereas in the older participants, these differences disappeared. Thus, when arousal is controlled, both younger and older adults tend to recognise negative information worse than positive or neutral information, but they also commit fewer errors. Results would suggest that the greater arousal commonly associated with negative stimuli, rather than their own valence, could explain some of the contradictory results found in the literature. (shrink)

Este trabajo se propone analizar las diferencias entre clases sociales en el uso de mecanismos de acceso al empleo en el Área Metropolitana de Buenos Aires según distintos entornos residenciales, haciendo foco en la clase obrera. Se comparará entre la Ciudad Autónoma de Buenos Aires y el primer cordón del conurbano bonaerense y el segundo y tercer cordón. Se distinguirá entre mecanismos de acceso al empleo basados en la movilización de lazos sociales, fuertes o débiles, ligados a distintas instituciones y (...) ámbitos de socialización, como la familia, el barrio, la escuela, la universidad, el trabajo, etc., y el acceso al empleo sin el uso de lazos sociales. Se analizaron también las pautas del uso de lazos en la clase obrera desde una perspectiva intrageneracional (ocupaciones anteriores) y el vínculo entre el uso de lazos y el acceso a una ocupación formal o informal. Se utilizó una metodología cuantitativa con datos provenientes de la encuesta del PI-Clases “Reproducción y movilidad social en trayectorias familiares y cursos de vida” (2015-2016), cuya muestra es probabilística y su unidad de análisis son personas de ambos sexos de entre 25 y 65 años del Área Metropolitana de Buenos Aires. Los principales hallazgos son las diferencias en el uso de lazos sociales según el entorno residencial y la importancia del uso de los lazos barriales para la clase obrera no calificada. A su vez, el uso de lazos sociales (y principalmente los barriales) está asociado al acceso a trabajos informales. (shrink)

The Adoption Problem (AP) was a postponed issue for some years (Kripke, 2024; Padró, 2015; Birman, 2024). This problem highlights certain difficulties surrounding the adoption of rules of inference: If anti-exceptionalism is wrong, is it possible to adopt an alternative logic? What is the point of the revision of logic in epistemology? During 2022 Kripke, Padró and Barrio held seminars on AP. The latter two edited the first thematic section on this subject in the journal Análisis Filosófico. It contains “What (...) the Adoption Problem Does Not Show” by Camilo Fiore, subject of this critical note, in which Fiore holds two theses: 1) AP is compatible with the thesis that logica utens is revisable; 2) to assess whether an agent can revise their logic, it is best to consider a different definition of adoption, e.g. weak adoption, according to which Universal Instantiation and Modus Ponens are sometimes adoptable. It then states that (1) and (2) are independent. In this article I will criticize the independence between (1) and (2). To this end, I will point out that thesis (1) and (2) are supported by the examples of Carrie and Barry, respectively, and that the type of logical revision involved in both is the same and local. Therefore, (1) and (2) are not independent. Next, I argue that it is impossible to satisfy another kind of logical revision, e.g. global revision. Therefore, the interdependence between (1) and (2) is not due to the examples proposed. (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)

El propósito de este estudio es reflexionar acerca de las aportaciones de la obra de M. Barrios Casares en el nuevo contexto hermenéutico en el que se encuentran los estudios nietzscheanos actualmente. El hilo conductor del estudio se articula en torno a la última publicación del filósofo sevillano, Tentativas sobre Nietzsche, cuyas líneas fundamentales son analizadas aquí. El segundo de los objetivos del presente trabajo reside en señalar algunos vínculos entre esta última publicación de M. Barrios y (...) su trabajo realizado anteriormente en el campo de la traducción, la edición y el ensayo. (shrink)

Adding a transparent truth predicate to a language completely governed by classical logic is not possible. The trouble, as is well-known, comes from paradoxes such as the Liar and Curry. Recently, Cobreros, Egré, Ripley and van Rooij have put forward an approach based on a non-transitive notion of consequence which is suitable to deal with semantic paradoxes while having a transparent truth predicate together with classical logic. Nevertheless, there are some interesting issues concerning the set of metainferences validated by this (...) logic. In this paper, we show that this logic, once it is adequately understood, is weaker than classical logic. Moreover, the logic is in a way similar to the paraconsistent logic LP. (shrink)

The "red note" - also known as "police information" - is the journalistic genre that covers bloody facts. The raw material of this sensationalist branch of the press are accidents, murders, robberies, lynchings, rape, acts of torture, and other events that violate daily life. Since the 19th century, the "red note" has had an important place in the Mexican press. Vicente Riva Palacio's Red Book, based on violent historical events, is a classic in the national bibliography of that century; the (...) engravers Manuel Alfonso Manilla and José Guadalupe Posada illustrated dozens of leaflets with news about bandits, crimes and shootings; In the twentieth century, notable narrators such as Víctor Ronquillo and Rolo Díaz worked for years at the police source; likewise, some of Mexico's great photographers made a career in this section, including Adrián Devars and Enrique el NiñoMetinides; his school finds important followers in photojournalists such as Pedro Valtierra, Fernando Brito and the team of the newspaper La Jornada. The stories that this journalistic genre gathers intersect with the history of the nation and include episodes that range from the murder of the Dongo family in 1789 to the massacre of migrants in San Fernando, Tamaulipas, in 2010; from the Gray Car Band to organized crime; of the shooting of Maximiliano de Habsburgo in the Hill of the Bells in 1867 to the murder of Luis Donaldo Colosio in Lomas Taurinas, Tijuana, in 1994. Carlos Monsiváis was a scholar of the subject and in his book The Thousand and One Watchmen he wrote: Alarmed and pleased, the crowds stop as before a shop window: there at your fingertips the endowment of rivers of blood, betrayals, iniquities, perversions, robberies. At the beginning of the 21st century, in Mexico, the genre has a larger presence than ever. In 2010, the writer explains the phenomenon: In 15 years, the biggest change is the fierce emergency, at times militarized, of drug trafficking, which radically modifies the meaning of the "red note" and transfers it almost daily to the altar of eight columns. The singularity of murders and murderers disappears, and the massive scale of crime also dehumanizes on a similar scale. The collection of the Museo del Estanquillo houses numerous publications, prints, models, photographs, flyers and memorabilia related to the "red note", as well as a considerable number of vintage photographs of Metinides that some researchers considered lost. In the archive of collector Pedro Barrios and other collectors, friends of the museum, as well as in the work of contemporary artists, we find the works that make up this exhibition. In these dark times, in which the "red note" has left the inside pages and become a front page issue, it is important to meditate on violence in our country. This visual chronicle of the history of the "red note" in Mexico seeks to contribute to this reflection. (shrink)

Recently, it has been proposed to understand a logic as containing not only a validity canon for inferences but also a validity canon for metainferences of any finite level. Then, it has been shown that it is possible to construct infinite hierarchies of ‘increasingly classical’ logics—that is, logics that are classical at the level of inferences and of increasingly higher metainferences—all of which admit a transparent truth predicate. In this paper, we extend this line of investigation by taking a somehow (...) different route. We explore logics that are different from classical logic at the level of inferences, but recover some important aspects of classical logic at every metainferential level. We dub such systems meta-classical non-classical logics. We argue that the systems presented deserve to be regarded as logics in their own right and, moreover, are potentially useful for the non-classical logician. (shrink)

In this note we shall argue that Milne’s new effort does not refute Truthmaker Maximalism. According to Truthmaker Maximalism, every truth has a truthmaker. Milne has attempted to refute it using the following self-referential sentence M: This sentence has no truthmaker. Essential to his refutation is that M is like the Gödel sentence and unlike the Liar, and one way in which Milne supports this assimilation is through the claim that his proof is essentially object-level and not semantic. In Section (...) 2, we shall argue that Milne is still begging the question against Truthmaker Maximalism. In Section 3, we shall argue that even assimilating M to the Liar does not force the truthmaker maximalist to maintain the ‘dull option’ that M does not express a proposition. There are other options open and, though they imply revising the logic in Milne’s reasoning, this is not one of the possible revisions he considers. In Section 4, we shall suggest that Milne’s proof requires an implicit appeal to semantic principles and notions. In Section 5, we shall point out that there are two important dissimilarities between M and the Gödel sentence. Section 6 is a brief summary and conclusion. (shrink)

Respuestas a Pelayo Pérez, Joaquín Robles y José Manuel Rodríguez Pardo.

Trabajo intelectual y trabajo manual -- La historia de la filosofía en la enseñanza de la filosofía -- Sobre el estoicismo -- La concepción de tiempo en el libro XI de las Confesiones de San Agustín -- Sobre la muerte.

Following Post program, we will propose a linguistic and empirical interpretation of Gödel’s incompleteness theorem and related ones on unsolvability by Church and Turing. All these theorems use the diagonal argument by Cantor in order to find limitations in finitary systems, as human language, which can make “infinite use of finite means”. The linguistic version of the incompleteness theorem says that every Turing complete language is Gödel incomplete. We conclude that the incompleteness and unsolvability theorems find limitations in our finitary (...) tool, which is our complete language. (shrink)