In this essay an engineer and a philosopher, after many conversations, develop an argument for why the Aristotelian version of virtue ethics is the most promising way to develop what we call artificial moral, social agents, i.e. robots. This, evidently, applies to humans as well. There are several claims: first, that humans are not born moral, they are socialized into morality; second, that morality involves affect, emotion, feeling, before it engages reason; third, that how a moral being feels is related (...) to some narrative, whether moral or not; and finally, that narrativity is what builds a sense of a “moral” I, namely an authorial moral self. (shrink)

By the beginning of the 19th century Hegel's dialectic turned contradiction (conceived as unity of a concept with its determined negation) into distinguished inference. In the course of 20th century a family of systems known as "paraconsistent" formalized dialectical logic according to the contemporary paradigm of inference, oriented to truth-preserving, and not powered anymore solely by contradiction. In this way, nevertheless, Hegel's idea of logic as unfolding of concepts ordered by degree of "determination" reached at every step of the process, (...) was put aside. We attempt to recover the importance of that idea for the hegelian concept of "logical necessity", pointing out in addition that it may well play the role of an order relation for dialectical inference. (shrink)

Me propongo aquí una reflexión sobre la crisis del humanismo que afecta profundamente a la sociedad y la cultura contemporáneas en todas sus dimensiones. De un modo falsamente optimista, se ha opuesto a esta crisis la figura de un post humanismo triunfante, resultado de los desarrollos de la tecnología contemporánea y sus posibilidades de intervención en el cuerpo y el alma del hombre. Haré aquí una evaluación crítica de ese optimismo, sin por ello reivindicar el viejo humanismo y su razón (...) colonizadora. Trataré de plantear a través de Heidegger y Agamben la condición post humanista y post histórica –en el sentido moderno– en la que nos encontramos. Pero luego intentaré pensar junto a Nietzsche y Bataille una figura del hombre que no es nueva, sino una figura más antigua y creo más profunda, que quedó sepultada bajo la irrupción tectónica del humanismo y su empresa civilizatoria. (shrink)

El artículo busca dilucidar algunas características del epistolario en tanto que fuente historiográfica y encontrar claves de comparación con la autobiografía. Con importantes aspectos en común, sus propósitos, sus sesgos y la posición subjetiva de sus autores evidencian importantes diferencias. A partir de esta problemática, se analizará la correspondencia sostenida por Max Weber desde el servicio militar durante la Gran Guerra. En un período en el que no tiene intervención pública alguna, el análisis se centra en la evolución de su (...) perspectiva sobre el papel de Alemania y sobre su actividad específica en los lazaretos. Cada uno de estos aspectos se relaciona respectivamente con dos piedras angulares de la obra weberiana: el problema nacional y el proceso de burocratización. (shrink)

I try to show that Steiner’s theory has very implausible normative consequences since it does not accept the prima facie character or rights. This theory is unable to solve the conflicts of interests in which the only intuitively plausible solution consists in overriding someone’s rights.

Esta Cr tica es una obra capital por el solo hecho de que versa sobre los temas en que culmina toda meditaci n sistem tica en filosof a. Es un proyecto de revoluci n te rica.

In 1997, I introduced the concept and the phrase “bio art”, originally in relation to my artwork “Time Capsule”. This work approached the problem of wet interfaces and human hosting of digital memory through the implantation of a microchip. The work consisted of a microchip implant, seven sepia-toned photographs, a live television broadcast, a webcast, interactive telerobotic webscanning of the implant, a remote database intervention, and additional display elements, including an X-ray of the implant. While “bio art” is applicable to (...) a large gamut of in vivo works that employ biological media, made by myself and others, in 1998, I started to employ the more focused term “transgenic art”. Republished in Ars Electronica ‘99—Life Science, ed. Gerfried Stocker and Christine Schopf, 289–296.) to describe a new art form based on the use of genetic engineering to create unique living beings. Art that manipulates or creates life must be pursued with great care, with acknowledgment of the complex issues it raises and, above all, with a commitment to respect, nurture, and love the life created. I have been creating and exhibiting a series of transgenic artworks since 1999. I have also been creating bio art that is not transgenic. The implications of this ongoing body of work have particular esthetic and social ramifications, crossing several disciplines and providing material for further reflection and dialog. What follows is an overview of theses works, the issues they evoke, and the debates they have elicited. (shrink)