La dirección de Nemesio Antúnez entre 1962 y 1964, y las administraciones que le siguieron en el Museo de Arte Contemporáneo (MAC), son un caso ejemplar de las dinámicas político-culturales desarrolladas durante la Guerra Fría. Este artículo analiza esta gestión museal desde la historia intelectual y la historia cultural, trabajando las redes de pensamiento que rodearon a Antúnez y la disquisición entre su programación y la influencia norteamericana en ese momento, atendiendo a cómo el MAC se involucró (...) en la guerra fría cultural. De esta manera se busca aportar al conocimiento de las tramas institucionales que se dieron entre la intelectualidad periférica y los centros metropolitanos durante uno de los periodos claves del siglo XX, presentando ciertos programas expositivos que respondieron al impulso de los EE. UU. de inserción ideológica. (shrink)

La dirección de Nemesio Antúnez entre 1962 y 1964, y las administraciones que le siguieron en el Museo de Arte Contemporáneo (MAC), son un caso ejemplar de las dinámicas político-culturales desarrolladas durante la Guerra Fría. Este artículo analiza esta gestión museal desde la historia intelectual y la historia cultural, trabajando las redes de pensamiento que rodearon a Antúnez y la disquisición entre su programación y la influencia norteamericana en ese momento, atendiendo a cómo el MAC se involucró (...) en la guerra fría cultural. De esta manera se busca aportar al conocimiento de las tramas institucionales que se dieron entre la intelectualidad periférica y los centros metropolitanos durante uno de los periodos claves del siglo XX, presentando ciertos programas expositivos que respondieron al impulso de los EE. UU. de inserción ideológica. (shrink)

Se analizan los desafíos de futuro de la sociedad digital. Desde perspectiva fenomenológico-hermenéutica, la idea de una ética de la tecnología considera la sociedad digital como dispositivo técnico. La literatura pertinente permite, primero, estudiar la tecnología disruptiva como generadora de cambios sociales, los cuales, a su vez, transforman las formas de la facticidad de la vida. De esta manera, la ética de la sociedad material, sirve de argumento para analizar la ética en la sociedad digital. Tomando la bioética filosófica como (...) instrumento, se concluye que la sociedad digital antepone retos para la vida, los cuales debe afrontar para la supervivencia. (shrink)

Many current problems surrounding science revolve around the complex epistemological framework that shapes a new vision of knowledge about reality. The traditional epistemological positions are characterized by the explanation of nature by means of concatenated facts; that is, as bricks attached to each other giving shape to the edifice of science. A conception of this nature showed that the idea of certainty was nothing more than a mere illusion, opening the way, on the contrary, to the idea of the uncertainty (...) of knowledge based on the descriptions of quantum physics, also a product of the non-reductionist conception of reality, thus criticizing the specular representation. This article addresses the main problems surrounding the critical conceptions that the emerging epistemology reveals about knowledge, pointing towards a much more complex vision of reality. (shrink)

Este artículo de investigación explora los factores relacionados con el cambio social por la educación en jóvenes en contextos de pobreza y marginación en Veracruz. Para tal efecto, recupera datos del levantamiento de información de un proyecto sobre jóvenes mediante un enfoque cualitativo realizado en ciudades medias de ese estado, en el cual se estudiaba la participación política de los jóvenes, pero el tema educativo era muy importante para comprender las trayectorias juveniles. Nuestro artículo es derivado de la investigación “Promover (...) espacios para la participación cívica, la inclusión y la reducción de la Violencia” patrocinado por el IDRC (Centro Internacional de Investigaciones para el Desarrollo de Canadá). La cual se enfocó en la inclusión social y la ciudadanía de los jóvenes en entornos de violencia, vulnerabilidad y exclusión en el estado de Veracruz. Se llevó a cabo en colaboración con la Universidad Veracruzana, el Centro de Servicios Municipales (CESEM) y el Movimiento de Apoyo a Niños Trabajadores y de la Calle (MATRACA-AC) durante al 2017 al 2020. El levantamiento del proyecto del cual recuperamos datos para este trabajo consistió en 20 grupos focales, 46 entrevistas a jóvenes y 14 a docentes en Xalapa, Coatzacoalcos, Veracruz y Poza Rica ciudades del Estado de Veracruz. Los datos indican que, al menos, existen cinco factores que constriñen los proyectos educativos juveniles: ingreso familiar, aspiraciones, contexto social, redes sociales y apoyo docente. Estos elementos de combinación contingente determinan las trayectorias juveniles individuadas en el campo escolar y pueden explicar tanto la permanencia como el abandono de la escuela en estas ciudades. (shrink)

Guy Rohrbaugh and Allan Hazlett have provided two arguments against the thesis that musical works are types. In short, they assume that, according to our modal talk and intuitions, musical works are modally flexible entities; since types are modally inflexible entities, musical works are not types. I argue that Rohrbaugh’s and Hazlett’s arguments fail and that the type/token theorist can preserve the truth of our modal claims and intuitions even if types are modally inflexible entities. First, I consider two alternatives (...) for the type/token theorist proposed in recent literature about the topic: the created types’ solution and the created abstract objects’ solution. I argue that none of them is attractive for the type/token theorist because they do not preserve the theoretical advantages of type/token theories to explain musical works’ repeatable nature. Then, I focus on the arguments’ common premise that musical works are modally flexible entities. A deeper analysis of musical practice will show that this premise is not true: our modal claims do not imply that musical works could have had different intrinsic but, instead, extrinsic properties. Finally, I show how the nested types theory may offer a satisfactory explanation of this fact and how it captures the truth of our modal talk about musical works. (shrink)

_Winner of the Fabian Dorsch ESA Essay Prize._ Julian Dodd defends the view that, in musical work-performance practice, interpretive authenticity is a more fundamental value than score compliance authenticity. According to him, compliance with a work’s score can be sacrificed in cases where it conflicts with interpretative authenticity. Stephen Davies and Andrew Kania reject this view, arguing that, if a performer intentionally departs from a work’s score, she is not properly instantiating that work and hence not producing an authentic performance (...) of it. I argue that this objection fails. A detailed analysis of work-performance practice reveals, first, that the normative scope of interpretive authenticity encompasses the practice of composing musical versions and that, second, when performers sacrifice score compliance to maximize interpretive authenticity, they are performing the target work by means of performing a version of it. By means of the nested types theory, I then show how performances produced in this way can be properly formed instances, and hence authentic performances, of their target work. (shrink)

This study empirically tests a sequential mediation model that links ethical leadership with employees’ unethical behaviour. The corruption index for countries is used as the moderator, because it represents both the instrumental ethical climate and the employee displacement of responsibility embedded in society’s ethical standards. A total of 175 participants comprising 41 teams (134 dyads) across 13 countries participated in a dyadic two-wave survey. The findings show that ethical leadership has an indirect influence on the avoidance of unethical behaviour by (...) reducing the instrumental ethical climate and by negating the displacement of individuals’ responsibility. In addition, the results also show that this process is not sensitive to the countries’ corruption levels. Such findings suggest that organizations are less prone to adjust their ethical standards to the environment than is usually expected. Accordingly, ethical leaders of MNCs may be instrumental in counteracting any corruptive pressure in the social environment, and likewise, non-ethical leaders may be a contributing factor to fostering corrupt organizations in a society that otherwise values ethical principles in business. (shrink)

This study divides some of the philosophical anthropologies developed after the Holocaust into three frameworks. To do this the author shows how the present modern crisis is an anthropological one and unites the sum of the different crisis dimensions mankind is currently facing. The article approaches the postmodern journey from its two routes—the relativistic and the metaphysical. The second is presented as “status quo-oriented” or as a form of modernized democracy. Because of its popularity, the neologism “transhumanism” is here examined (...) togeth er with the hypothetical coming of a post-human era. This in turn is viewed as a revival of the illustrated myth of the happy world. The author first offers a “status quo” criticism “transhumanism” from the metaphysical anthropology viewpoint and then proposes an approach to a “third way, that is, the convergence of other anthropologies revolving around a person’s dignity born of his or her metaphysical roots together with a recovery of the value of human carnality. The article concludes by putting the different philosophers’ viewpoints face-to-face with the Person of Jesus Christ. (shrink)

This paper discusses methodological issues of two recent experiments conducted by Christopher Bartel, and Elzė S. Mikalonytė and Vilius Dranseika, respectively, about the repeatability and individuation of musical works. I argue, first, that the reliability of their results about people’s intuitions in our everyday musical practices can be questioned due to the use of descriptions instead of musical stimuli of the works and performances involved in the cases tested. This procedure is prone to place participants in an epistemic situation in (...) which their mental capacities for their everyday judgments are not deployed and makes their judgments more vulnerable to the problem of “filling in”. I provide empirical data of an experiment that implements musical stimuli, obtaining large effect sizes regarding the results obtained by Bartel, Mikalonytė and Dranseika. In addition, I argue that the results of three scenarios of the experiment conducted by Mikalonytė and Dranseika are suspicious of being influenced by presentation effects that favor the contextualist intuition that the composer is a relevant parameter in work-individuation. Formal and superficial aspects of the description of their cases would cause these effects. I supply empirical data of an experiment that neutralizes those effects, obtaining moderate and large effect sizes regarding the results of Mikalonytė and Dranseika. (shrink)

A critical and reflexive approach to God's question from diverse lines of the Postmodernity; showing roots, shadows and lights of some of the nowadays philosophies.

The determination thesis is the idea that art-ontological facts are determined by the folk ontological conception of artworks embedded in our artistic practices. From this thesis, descriptivism in the metaontology of art has been often characterized as the view that the task of art-ontology is to describe that folk conception. Amie Thomasson and Andrew Kania provide two paradigmatic accounts within this path. In this paper, I argue that this descriptivist approach is ungrounded because the determination thesis suffers from presupposition failure. (...) It presupposes that, whenever there is a practice of producing and appreciating artworks, there is also a folk ontological conception about those artworks. This presupposition, an implicit premise in Thomasson's and Kania's accounts, will be revealed as false, paying attention to the way artistic practices have evolved. I will conclude that descriptivism should abandon this approach and embrace metaontological realism if it aims to be a plausible view. (shrink)

Desde principios del siglo xxi la modernización del sector público, impulsada por las Tecnologías de la Información y la Comunicación, ha desencadenado una serie de aspectos positivos y negativos para los ciudadanos entre las reformas más innovadoras que ha sufrido el ambiente gubernamental ante el fomento de los procesos electrónicos a través del gobierno electrónico. El uso de las tic busca reformar algunos procesos de la gestión pública y vincular activamente a los ciudadanos con la Administración, para que se convierta (...) en una herramienta que disminuya la carga burocrática en los trámites, promueva la participación ciudadana, fortalezca la confianza en el Estado y viabilice e incremente la transparencia y la rendición de cuentas. Su implementación ha traído la modificación de modelos y políticas de gobierno por los Estados. Las actividades que los ciudadanos realizan con la Administración Pública se efectúan de forma electrónica desde finales del siglo xx, suceso que ha avanzado con la smart city. (shrink)

A review of the concept of nature by Plotinus thinking from the necessity of a new philosophy of nature to understand the significant density of matter and physis.

The influx of modernity is approached as a guaranteed right in the economic process. The period is catalogued as a proponent of rationality in Weberian-Habermasian sense, with an adjustment as to ends. Rights adopt four characteristics in the methodological argument of modernity: a) it is calc..

Se aborda el concepto de ética de la responsabilidad desde una doble perspectiva: desde la racionalidad de la praxis que despliega el sujeto visto como individuo, pero también desde la idea de la solidaridad necesaria para conformar una trama filosófica que aborde la ética empresarial en un sentido abarcador. Bajo el concepto de filosofía de la praxis, se interpreta el concepto de conciencia moral para luego abordar el concepto de responsabilidad social como praxis necesarias de la acción. Se concluye desde (...) la ética de Schopenhauer que el individuo moral debe ser visto en su dimensión social para sortear las dificultades del egoísmo. (shrink)

The present work refers to the doctorship research that implemented the Free-Expression Painting Studio technique to assist university students who had suicidal ideations or attempts. This technique was developed in France by the psychologist Michel Ternoy, based on Minkowski’s structural-phenomenon analysis method. A group session will be presented and discussed from Michel Henry’s phenomenology of life. Psychology and phenomenology can create spaces for belonging and support, which allow the transformation of suffering from experiences in the community. The Painting Studio makes (...) it possible to experience the affection of the other as a potential of one’s own possibilities, mobilizing the affective dialectical relationship, through which one can go from unbearable suffering to original fruition. We seek to show that art can be part of the therapeutic process as an alternative to the passage to the act of suicide before it becomes unbearable. (shrink)

I have recently defended two ideas (Puy 2022a). The first is that our modal claims about musical works do not imply that they are modally flexible entities, i.e.

This paper aims to shed light on the question of whether musical appropriation is ethically unobjectionable. James Young (2021) has recently advanced a position on this topic, according to which, whereas the appropriation of a whole work is uncontroversially non-permissible, the appropriation of parts of a work is usually permissible. He grounds this view in ontological matters and in a criterion of fair use in terms of economic harm to the source work’s composer. I argue that, pace Young, we cannot (...) make general ethical claims about musical appropriation because their truth is sensitive to the musical genres that the involved works belong to. First, I clarify the scope of musical appropriation by means of considerations on musical practices and ontology. This will reveal that versions and covers are not genuine cases of musical appropriation. In a second step, I consider a specific kind of musical appropriation: using the first measures of a source work as the first measures of a secondary work. I show that, even if we assume Young’s ontological framework and his criterion on fair use, the instances of this kind of musical appropriation count as fair or unfair depending on the musical genres of the involved works due to their normative implications for the composition and appreciation of those works. (shrink)

Impure Eliminativism about Categories is the idea that ontological categories are not wholly eliminable insofar as they have epistemic value to understand the nature of ordinary and scientific objects. From the perspective of Impure Eliminativism, different criticisms have been addressed to substantialist approaches in metaphysics and, in particular, to John Heil’s substance-mode two-category ontology. The aim of this paper is to contribute to this critical project by extending its scope to C. B. Martin’s substantialism. The thesis I defend is that (...) Martin’s substratum-trope two-category ontology satisfies the elimination criterion of Impure Eliminativism for ontological categories because either it is inconsistent or else it supplies a non-exhaustive and non-exclusive categorization of ordinary and scientific objects and their properties. First, I introduce Impure Eliminativism and its novel elimination criterion for ontological categories, and I survey recent criticisms of substantialism from that perspective. Second, I show that nothing satisfies Martin’s definition of substratum in a way that is consistent with Martin’s view on tropes. Third, I note that the attempts to avoid the inconsistency make the categorization supplied by Martin’s ontology either non-exhaustive or non-exclusive. I then conclude that Martin’s substratum-trope categorial system should be eliminated in accordance with the criterion of categorial elimination of Impure Eliminativism. (shrink)

La belleza en Charles S. Peirce: Origen y alcance de sus ideas estéticas is a clearly written and well-structured book on Peirce’s aesthetics. Barrena’s thesis is that aesthetics, conceived as a normative science, is central to Peirce’s philosophical system, and especially to his pragmaticism. The goal of the book is twofold: it aims to offer an analysis of the biographical and theoretical aspects of Peirce’s interest in aesthetics and the arts and purports to elaborate a pragmaticist aesthetics. Both objectives can (...) be said to be well achieved. The book is divided into four chapters. The first is devoted to... (shrink)

I defend in this paper the thesis that there is a complex relation between minimalist musical works and the metaphysics of time, involving ontological, epistemological and axiological issues. This relation is explained by means of three sub-theses. The first one is that minimalist musical works literally exemplify –in Goodman’s sense–the properties ascribed to time by the metaphysical static view: 1) minimalist works intrinsically possess those properties by being composed according to the technique of minimal repetition; 2) they extrinsically refer to (...) those properties in virtue of pragmatic processes of accommodation of disagreements on what is taken to be common ground in a particular musical context. The second sub-thesis is that, in exemplifying those properties, minimalist musical works are valuable from two perspectives: a formalist one, according to which minimalist works purify the concept of what a musical work is; and a cognitive one, insofar they allow us to obtain phenomenal knowledge of what it is like to experience time as the static view conceives it. The third sub-thesis is that each particular minimalist musical work is valuable insofar it achieves either the formalist or the cognitive goals in an original way. (shrink)

This paper is devoted to face recent views in the ontology of music that reject that musical works are repeatable in musical performances. It will be observed that musical works’ repeatability implies that they are audible and variable in their performances. To this extent, the aim here is to show that repeatability, audibility and variability are ontologically substantive features of musical works’ nature. The thesis that will be defended is that repeatability, audibility and variability are dispositional non-aesthetic properties of musical (...) works. The plausibility of the dispositional account of musical works’ repeatability, audibility and variability will lead us to the conclusion that they are ontologically substantive features of musical works’ nature, and consequently, any suitable explanation of the ontology of musical works must not ignore them. (shrink)

This article is devoted to examining the ontological foundations of computer-generated music scores. Specifically, we focus on the categorial question, i.e., the inquiry that aims to determine the kind of ontological category that musical works belong to. This task involves considerations concerning the existence and persistence conditions for musical works, and it has consequences for the determination of what it is to compose a musical work. Our contention is that not all the possible answers to the categorial question in the (...) ontology of music are equally compatible with the hypothesis that creative music systems compose musical works. The thesis defended here is that musical Platonism is the proposal that best accommodates this hypothesis. We claim that musical Platonism is the answer to the categorial question that offers the most straightforward explanation for the possibility of considering creative music systems as genuinely composing musical works. Moreover, we uphold that the notion of creative-evaluative discovery as the characterization of what it is to compose a musical work entailed by Platonism is the simplest explanation of the process developed by a computer in producing musical works. For this purpose, we will take as empirical data the features of the Iamus computer, a system that produces musical works autonomously using evolutionary algorithms and following an evo-devo strategy. The works generated by this computer have been recorded by the London Symphony Orchestra and other renowned international soloists, and its impact has been notable in the literature (Ball, 2012; Coghlan, 2012; Berger, 2013). (shrink)

Este artigo tem como objetivo ilustrar as contribuições de Edith Stein para a Psicologia a partir de uma pesquisa empírica que buscou compreender o processo formativo dos moradores de uma região periférica de Salvador. Para tanto, apresenta os resultados de uma análise, baseada na obra Contribuições à fundamentação filosófica da Psicologia e das Ciências do Espírito, que ilustra o percurso individual de três participantes da pesquisa. A análise possibilita identificar cinco vivências comuns que marcam o processo de transformação dos sujeitos, (...) orientados por um projeto pessoal. Exemplifica, deste modo, a contribuição da fenomenologia de Edith Stein para a Psicologia no sentido de não reduzir a pessoa aos desafios do contexto em que vive ou aos condicionamentos psicofísicos aos quais está submetida, mas a enxergá-la na sua inteireza, discriminando as diferentes naturezas de vivências e o seu modo singular de viver, com a potência que ele contém. (shrink)