With its origin-centric value proposition, the specialty coffee industry seeks to educate consumers about the value of the origin of coffee and how the relationship with farmers ensures quality and makes coffee a premium product. While the industry has widely used stories and visual cues to communicate this added value, research studying whether and how these efforts influence consumers' experiences is scarce. Through three experiments, we explored the effect of images that evoke the terroir of coffee on the perception of (...) premiumness. Our results revealed that online images that resembled the broad origin of coffee could influence premiumness expectations of coffee. Similarly, a virtual reality environment that depicted this broad origin could enhance the perception of coffee premiumness for non-expert consumers and the enjoyment of the experience for coffee professionals. Importantly, we found that congruence between the coffee and the virtual reality atmospheres mediated how much non-experts enjoyed the experience. VR atmospheres also influenced expectations of sweetness and acidity for non-experts. These findings serve as a steppingstone for further exploration of the effects of congruence between visual cues and product/brand attributes on premiumness expectations and perception, and more generally on consumer experience. From a practical standpoint, this study provides insights into key aspects for the development of immersive virtual product experiences. (shrink)

This work explores the later Wittgenstein’s philosophy of mathematics in relation to Lakatos’ philosophy of mathematics and the philosophy of mathematical practice. I argue that, while the philosophy of mathematical practice typically identifies Lakatos as its earliest of predecessors, the later Wittgenstein already developed key ideas for this community a few decades before. However, for a variety of reasons, most of this work on philosophy of mathematics has gone relatively unnoticed. Some of these ideas and their significance as precursors for (...) the philosophy of mathematical practice will be presented here, including a brief reconstruction of Lakatos’ considerations on Euler’s conjecture for polyhedra from the lens of late Wittgensteinian philosophy. Overall, this article aims to challenge the received view of the history of the philosophy of mathematical practice and inspire further work in this community drawing from Wittgenstein’s late philosophy. (shrink)

The conditions involved in the applicability of mathematics in science are the subject of ongoing debates. One of the best‐received approaches is the inferential account, which involves structural mappings and pragmatic considerations in a three‐step model. According to the inferential account, these pragmatic considerations happen in the immersion and interpretation stages, but not during derivation (symbol‐pushing in a mathematical formalism). In this work, I draw inspiration from the later Wittgenstein and make the case that the applicability of mathematics also rests (...) on pragmatic considerations at the mathematical derivation level. I make the further case that pragmatic considerations at the mathematical derivation level may substitute pragmatic considerations in the other two stages, thus showing how they are holistically interrelated. I illustrate these two points with the solution of a simple geometrical problem. (shrink)

In this work we argue that there is no strong demarcation between pure and applied mathematics. We show this first by stressing non-deductive components within pure mathematics, like axiomatization and theory-building in general. We also stress the “purer” components of applied mathematics, like the theory of the models that are concerned with practical purposes. We further show that some mathematical theories can be viewed through either a pure or applied lens. These different lenses are tied to different communities, which endorse (...) different evaluative standards for theories. We evaluate the distinction between pure and applied mathematics from a late Wittgensteinian perspective. We note that the classical exegesis of the later Wittgenstein’s philosophy of mathematics, due to Maddy, leads to a clear-cut but misguided demarcation. We then turn our attention to a more niche interpretation of Wittgenstein by Dawson, which captures aspects of the aforementioned distinction more accurately. Building on this newer, maverick interpretation of the later Wittgenstein’s philosophy of mathematics, and endorsing an extended notion of meaning as use which includes social, mundane uses, we elaborate a fuzzy, but more realistic, demarcation. This demarcation, relying on family resemblance, is based on how direct and intended technical applications are, the kind of evaluative standards featured, and the range of rhetorical purposes at stake. (shrink)

En 1935 Martin Heidegger da sorpresivamente una conferencia en Friburgo sobre el origen de la obra de arte. ¿Por qué Heidegger, repentinamente, brinda una conferencia sobre el arte? ¿Por qué aparece en este año “el arte” como una cuestión decisiva? Solamente encontramos breves menciones sobre esta temática en sus trabajos previos al ensayo sobre el arte. ¿Cómo encuadrar este aparente “oasis” en el pensamiento heideggeriano? A partir del académico estadounidense William Richardson la obra de Martin Heidegger se suele dividir en (...) dos grandes momentos separados por lo que es conocido por el viraje. ¿Desde dónde deberíamos abordar la obra? ¿deberíamos entender sus planteos desde lo trabajado en Aportes a la filosofía? ¿o deberíamos ingresar a “El origen de la obra de arte” desde las obras del primer Heidegger? Estos interrogantes, de carácter metodológico-interpretativo, son los que nos proponemos contestar a lo largo del trabajo, buscando defender la siguiente hipótesis: “El origen de la obra de arte” es una obra “de frontera” entre estos dos momentos del pensamiento de Heidegger, razón por la cual requiere de un abordaje de “ida y vuelta” entre el primer y el segundo Heidegger. (shrink)

An extension of the Quantified Propositional Calculus1 obtained by the addition of two binary propositional functions is put forward as an inheritor of E. Schröder's “Algebra der Logik”. The formal system is itself not new, in fact it forms part of A. P. Morse's “A Theory of Sets”; although the latter is considered as a first-order system. Since the additional propositional functions are not invariant under the logical biconditional, this system–and many others naturally obtained from it–give us a collection of (...) examples of non-standard, but mathematically meaningful, propositional systems. (shrink)

There is another Socratic method, Socratic mimēsis, and an instance of this is when Plato has Socrates play ‘the annoying questioner’ in the Hippias Major. Other interpreters have suggested that the reasons for Socrates’s dramatic play are depersonalization and distance. I argue for viewing Socrates’s role-playing as a way to dramatize the inner dialogue that happens inside one’s mind in what we may call conscience. Hippias the sophist lacks a conscience: his focus is acquisitive as opposed to inquisitive. Plato has (...) staged a pedagogical theater of Hippias’s failed lesson for the benefit of Plato’s audience, the listeners/readers of the dialogue. (shrink)

Este trabajo pretende analizar la caracterización por parte de Heidegger de la esencia de la obra de arte como "poética" en "El origen de la obra de arte". ¿Qué puede llegar a significar esto? ¿Se puede reducir la esencia de la obra de arte a un tipo de arte? Abordaremos este problema interpretativo fundamentalmente de Ser y tiempo,aunque también nos serviremos de la conferencia "Hölderlin y la esencia de la poesía". "Poético" se refiere a un ámbito más amplio que el (...) del género literario, se refiere al espacio donde se da la verdad, entendida siempre como desocultación. La tesis por defender es que lo que Heidegger comprende por "poesía" en el ensayo sobre el arte es el lenguaje entendido como fuente de inteligibilidad o comprensibilidad, es decir, como aquello que permite al ente manifestarse como ente, abre el espacio de sentido que le permite mostrarse. (shrink)

Resumen El objetivo principal de este artículo es recrear la práctica de la hospitalidad en el contexto de la realidad migratoria actual, con la intención de aportar luz a la manera de gestionar la diversidad, de repensar la formación de identidad, de acercarnos a ciertas dinámicas políticas y últimamente de incentivar procesos de integración y cohesión social, especialmente en la vida de nuestros barrios. Para ello, el autor se adentra en las raíces bíblicas de la hospitalidad, aportando algunas claves para (...) entender esta virtud hoy. En nuestro mundo actual donde parecería ganar terreno la hostilidad sobre la hospitalidad, la práctica de la hospitalidad constituye un auténtico acto de resistencia.The main aim of this article is to recreate the practice of hospitality in the context of the current migratory reality, with the intention of bringing light to the way of managing diversity, of rethinking identity formation, of approaching certain political dynamics and lately to encourage processes of integration and social cohesion, especially in our vulnerable neighborhoods. For this purpose, the author delves into the biblical roots of hospitality, providing some clues to understand this virtue today. In our current world where hostility over hospitality seems to gain ground, the practice of hospitality constitutes a genuine act of resistance. (shrink)

En este trabajo se analizan los documentales del período silente de la Revolución mexicana, específicamente aquellos que fueron realizados durante el fragor de la contienda armada entre 1910 y 1917. El objetivo es reflexionar acerca del modo en que las imágenes fílmicas contribuyeron a forjar el mito de la Revolución como mexicanidad y, a partir de esa mitificación, problematizar la temporalidad de las imágenes y su devenir social y político. Se sostiene que los documentales del período revolucionario favorecieron de manera (...) significativa (junto con otras prácticas culturales: pintura, literatura, teatro) la estructuración de un imaginario social que concibió la lucha armada como seña de identidad. El análisis de los documentales rodados durante el proceso revolucionario mostrará cómo esas imágenes fílmicas hicieron legible una historicidad de la Revolución y, al mismo tiempo, inscribieron una nueva matriz cultural que instituyó, por ejemplo, al campesinado rebelde como discurso sobre el cual construir esa nueva mexicanidad. De este modo, la Revolución como mexicanidad se instauró como un nuevo paradigma sociopolítico sobre el cual se cimentó el nacionalismo populista que se irá conformando como ethos cultural dentro de la sociedad mexicana a lo largo del siglo XX. (shrink)

This paper has two aims. First, we argue that Wittgenstein’s notion of petrification can be used to explain phenomena in advanced mathematics, sometimes better than more popular views on mathematics, such as formalism, even though petrification usually suffers from a diet of examples of a very basic nature (in particular a focus on addition of small numbers). Second, we analyse current disagreements on the absolute undecidability of CH under the notion of petrification and hinge epistemology. We argue that in contemporary (...) set theory the usage of construction techniques for set-theoretic models in which the Continuum Hypothesis holds and those in which it fails have petrified into the normative demand that CH remain undecidable. That is, the continuous and successful practices involving the construction of various set-theoretic models now act as a normative hinge shared among practitioners, i.e., have normative force in the discipline. However, not all hinges are universal, which is why we find disagreements in set theory. We will show that this is a refinement of, and partially conflicts with, the arguments presented by set theorist Joel David Hamkins. (shrink)

RESUMEN En este trabajo me propongo demostrar que el concepto de dios en "El origen de la obra de arte" de Martin Heidegger no refiere a una figura divino-religiosa, sino que se debe enmarcar dentro del leitmotiv de toda su filosofía, la pregunta por el ser. La hipótesis a defender será la siguiente: Heidegger utiliza la noción de "dios" para describir el proceso de fundación de un espacio de sentido. En un primer momento analizaré algunos contraargumentos a esta hipótesis, según (...) los cuales Heidegger estaría hablando de la posibilidad de que el arte nos religue con los dioses como tales. Luego pasaré al argumento principal, en el que vincularé el ensayo sobre el arte fundamentalmente con el seminario sobre Parménides para mostrar cómo la noción de dios se conecta con el concepto de ser y de sentido. ABSTRACT In this essay I try to demonstrate that the concept of God in "The Origin of the Work of Art" by Martin Heidegger does not refer to a divine-religious figure but must be framed within the Leitmotiv of all his philosophy, the question of being. The hypothesis to be defended will be the following: Heidegger uses the notion of "god" to describe the process of founding a space of meaning. First, I will analyze some counter arguments to this hypothesis, according to which Heidegger would be talking about the possibility that art reconnects us with the gods as such. Then, I will move on to the main argument in which I will link the essay on art fundamentally with the seminary on Parmenides to show how the notion of God is linked to the concept of being and meaning. (shrink)

En este trabajo intentaremos demostrar que “El origen de la obra de arte” se encuentra dialogando implícitamente con la filosofía del arte hegeliana. Concretamente intentaremos mostrar que este debate con el filósofo del siglo XIX se da en dos frentes: la tesis del fin del arte y la relación entre el arte y la historia. De aquí se desprenden dos objetivos: 1. En primer lugar, analizaremos la discusión entre los intérpretes sobre si para Heidegger el arte ha llegado o no (...) a su fin e intentaremos atisbar una respuesta propia. 2. En segundo lugar, intentaremos mostrar las influencias hegelianas en un tema no del todo explicitado en el ensayo sobre el arte: la historia del ser (die Seinsgeschichte). (shrink)

Latin America is not one, but many. It exists in six different regions with differing forms of Catholicism. This Catholicism had acted from a position of power. The challenge of modernity and independence movements made people anti-Church if not anti-Christian. New missionary priests from North America and Europe changed the face of Latin American Catholicism after the second world war. Yet Catholicism is not deeply rooted in Latin America and thus has had to resort to political means for survival. In (...) the pluralistic world of the future, Catholicism in Latin America will have to live with change. (shrink)

No hay ninguna línea que divida entre ciencia y filosofía, pero los problemas filosóficos tienden a tener tres características especiales. Primero, tienden a tratarse de grandes armazones más que de preguntas específicas dentro del armazón. Segundo, son preguntas para las cuales no hay un método generalmente aceptado para su solución. Y tercero ellos tienden a involucrar asuntos conceptuales.

The transmission of Cicero's theological works in Spain.The so-called 'theological' works of Cicero were highly valued from late antiquity on, and had a very tich influence on European medieval literature. However, the transmission of these philosophical dialogues seems to have been very scarce and mainly indirect in Spain until the fourteenth century, only a little more significant in fifteenth and sixteenth century, probably because of the difficulties in adapting the sceptical basis of the Ciceronian thought to the Christian orthodoxy, in (...) spite of the humanistic attempts in this direction. (shrink)

In a problematic relationship with the noted continuity between Port-Royal’s Grammar and Francisco Sánchez’s Minerva, and with both regarding the recent developments in Linguistics, this essay tries to go into detail about the differences between these approaches, and specially about the relations between grammar and thought in Sánchez and Port Royal’s works.

El uso de las Tecnologías de la información y la comunicación ha permitido introducir mejoras en la forma como se desarrollan los procesos de enseñanza y aprendizaje, así como los procesos propios a la gestión y administración de las actividades académicas. Sin embargo, el índice de adopción de estas herramientas es reducido en cobertura y en profundidad. No obstante, para el uso de la herramienta Teams hay que detallar las ventajas y desventajas encontradas y finalizar con conclusiones en base a (...) las experiencias personales. Palabras Clave: software, Microsoft Teams, herramienta, ventajas, experiencia. Referencias [1]C. E. F. Pabón, «MÁS ALLÁ DE ZOOM, GOOGLE MEET, TEAMS…,» Slidesgo, vol. 1, nº 1, p. 12, 2020. [2]F. García, A. Correl, V. Abella y M. Grande, «La evaluación online en la educación superior en tiempos de la COVID-19,» EDUCATION IN THE KNOWLEDGE SOCIETY, vol. 21, nº 1, pp. 1-12, 2020. [3]G. Jose, C. Alfredo, G. Victor y GrandeMario, «Education in the Knowledge Society,» Ediciones Universal Salamanca, vol. 1, nº 12, p. 26, 14 05 2020. [4]E. Dans, «Educacion online: Plataformas educativas y el dilema de la apertura,» Universidad y Sociedad del Conocimiento, vol. 6, nº 1, p. 10, 02 03 2009. [5]A. Mauricio, A. Roberto, V. Edgar y F. Karen, «Convergencia de procesos de docencia universitaria: El uso de la aplicacion Teams de Microsoft,» ResearchGate, vol. 1, nº 1, p. 9, 21 11 2019. [6]B. Jose, L. Lina, H. Maria y J. Eusebio, «Utilización del alfa de Cronbach para validar la confiabilidad,» Engineering and Technology, vol. 11, nº 1, p. 9, 16 08 2013. [7]J.-J. a. C.-R. D. a. D. P. Monedero-Moya, «Usabilidad y satisfacción en herramientas de anotaciones multimedia para MOOC = Usability and Satisfaction in Multimedia Annotation Tools for MOOCs,» e-Lis, vol. 22, nº 44, p. 62, 2018. [8]I. Ros Martínez de Lahidalga, «Moodle, la plataforma para la enseñanza y organización escolar,» Ikastorratza, e- Revista de Didáctica, vol. 2, nº 50, p. 12, 2008. [9]D. Marlene, «Herramientas para la producción de materiales didácticos para las modalidades de enseñanza semipresencial y a distancia,» ACIMED, vol. 16, nº 2, p. 5, 2007. [10]C. Barbara, «Diseño y validación de un instrumento,» Universitat Illes Balears, vol. 4, nº 50, p. 415, 10 2006. (shrink)

Silence is reserved for what cannot be verbally expressed. The well-known Wittgensteinian quote summarizes an established understanding of the relationship between language and silence: because language is not enough to account for reality and thinking, it must be transcended by other means of expression, like music or silence. But what if the opposite is the case and silence is not the extension but the precondition of language, the ultimate source of meaning? This paper explores how this is the phenomenological and (...) Derridean philosophical framework of Coetzee’s novels, a literary universe created from the will to signify and build singular meanings. (shrink)

En este artículo, se analiza la cuestión de si la existencia del derecho depende necesariamente de la moralidad. La cuestión que ha enfrentado a las doctrinas del derecho natural con el positivismo jurídico. Se trata de mostrar que dicho debate esconde, al menos tres cuestiones diferentes, que requieren respuestas diversas: 1) La cuestión semántica de si las normas positivas injustas son derecho, 2) la cuestión metafísica de si la existencia del contenido del derecho está fundada en hechos morales y 3) (...) la cuestión epistémica de si el contenido del derecho debe ser identificado sin recurrir a consideraciones morales. Se concluye que la primera cuestión es una mera disputa verbal. Se dan algunos argumentos para aceptar la tesis metafísica. Y una respuesta afirmativa a la tercera cuestión es puesta en duda analizando la doctrina de la autoridad de Joseph Raz y, también, tratando de mostrar que el hecho de que algo sea concebible no conlleva que sea metafísicamente posible. (shrink)

En los últimos tiempos muchos teóricos e historiadores del arte comenzaron a entender las imágenes como entes dotados de agencia e intencionalidad. Algunos críticos acusaron dichas posturas de ser nuevas formas de animismo. En este artículo analizo posibles argumentos para comprender la agencia de lo visual sin caer en misticismos. La tesis es la siguiente: la agencia de la imagen no es una especie de poder mágico, sino la actualización de una potencia de lo visual por parte del espectador. En (...) otras palabras, es la mirada de quien contempla la que “da vida” a la imagen. (shrink)

My goal in this paper is to compare Heidegger’s philosophy of science with Thomas Kuhn’s. With this comparison I want to pursue two goals: 1) using Kuhn’s arsenal of conceptual tools, to make Heidegger’s position appear in a clearer fashion; and 2) to show that Heidegger’s and Kuhn’s positions are not so different as one might expect. I will, thus, suggest that these philosophies can be compatible. I will show that, even if there are differences, there are many similarities as (...) well. I will address three issues: 1) the differences and similarities between Kuhn’s notion of paradigm and Heidegger’s notion of world; 2) the analogous concepts of “normal science” and “calculating thinking”; and 3) the source of intelligibility in both authors. Here, I believe, is where the main difference between both thinkers lays. (shrink)

In this paper I aim to analyze Guerrero's position as a reader of Heidegger, particularly the conceptual continuities and discontinuities between the Argentine philosopher's methodological proposal of an "operative aesthetic" and the essay on the art of the German thinker. We will concentrate on the first volume, Estética operatoria en tres direcciones. Revelación y acogimiento de la obra de arte and the essay "The origin of the work of art". Our hypothesis is that Guerrero is an anthropophagous reader: While Guerrero (...) support some of Heidegger's proposals in his essay on art, the Argentine philosopher is also critical and from the reading of “The origin of the work of art” he elaborates an original thought. Specifically Guerrero takes, I state, the phenomenological-hermeneutical methodology and applies it in an original way to the analysis of the work of art. (shrink)

After the collapse of the Soviet Union, the great fear that formerly attended the threat of nuclear warfare has been replaced by other more intangible and disturbing fears: first a fear of migrants, then a fear of Islamic terrorism, and finally a fear of a traditionally persecuted minority like the Roma people. The politics now marketed, the entirety of the slogans now adopted by the political parties, specifically emphasise such fears. In the first pace, the slogans of the Right feed (...) and spread these fears precisely in order to enhance their own legitimacy. Along with such slogans, and sometimes in the closest connection with them, there operates a potent mechanism of fear: the totality of the press and the television media, and all the ways by means of which this diffuse social imaginary is produced. If the world of politics were a market – and it looks as if that is what it has now become – one could say that the principal commodity on offer is exactly fear. As in the economic market, the “political agents” sell themselves, in this case by disseminating throughout the social body a fear which claims that it alone is conducive to real security. And this means that the process of political competition transpires almost entirely within a “persecutory” perspective in accordance with victimising model of the scapegoat. Thus civil rights are the first things that come under threat: in the short term the civil rights of the victims, and in the long term those of the “citizens” as well. (shrink)