La cultura del agua debe ser vinculada de forma especial a las manifestaciones del patrimonio cultural intangible de los pueblos, como las tradiciones orales o escritas, la simbología o los rituales, que conforman lo que llamamos los Imaginarios del Agua. Estos deben ser analizados y deconstruidos a la luz de los nuevos paradigmas, como la hermenéutica y la ecocrítica. De este modo, la mitografía ayuda a perfilar el significado profundo de la cultura del agua ante las nuevas demandas medioambientales, educativas (...) y culturales del siglo XXI, en un contexto donde el agua ya no es solo un recurso estratégico, sino un bien cultural ligado al desarrollo local y a las políticas de sostenibilidad. Por ello, al conocer las tradiciones ancestrales y los imaginarios en torno al agua, y al sensibilizar a los alumnos con los valores plurales de estas manifestaciones culturales --que siempre van encaminados al respeto y al conocimiento del patrimonio natural y cultural--, contribuimos de forma decisiva a la gobernanza del agua y a la gestión sostenible y responsable de los recursos hídricos, pues sin duda el principal problema de la sostenibilidad será la educación de los ciudadanos. Water culture must be linked in a special way to expressions of intangible cultural heritage of peoples, such as oral or written traditions, symbols or rituals that make up what we call the imaginary water. They must be analyzed and deconstructed in the light of the new paradigms, such as hermeneutics and the ecocriticism. Thus, mythography helps shape the profound meaning of the culture of the water at the new environmental, educational and cultural demands of the 21st century, in a context where the water is not only a strategic resource but a cultural property linked to local development and sustainability policies. Therefore, to know the ancestral traditions and imaginaries in connection to water, and to educate students with the plural values of these cultural manifestations, --which always aimed to respect and knowledge of the natural and cultural heritage-- we contribute decisively to the governance of the water and the sustainable and responsible management of water resources then no doubt the main problem of sustainability will be the education of citizens. (shrink)

EDUCERE is a government funded research and development project. EDUCERE objectives are to investigate, develop, and evaluate innovative solutions for society to detect changes in psychomotor development through the natural interaction of children with toys and everyday objects, and perform stimulation and early attention activities in real environments such as home and school. In the EDUCERE project, an ethical impact assessment is carried out linked to a minors’ data protection rights. Using a specific methodology, the project has achieved some promising (...) results. These include use of a prototype of smart toys to detect development difficulties in children. In addition, privacy protection measures which take into account the security concerns of health data, have been proposed and applied. This latter security framework could be useful in other Internet of Things related projects. It consists of legal and technical measures. Special attention has been placed in the transformation of bulk data such as acceleration and jitter of toys into health data when patterns of atypical development are found. The article describes the different security profiles in which users are classified. (shrink)

La muerte resulta problemática para la contemporaneidad. El existencialismo es una corriente filosófica que presenta la facticidad de la mortalidad como propia de la vida. El pensador Albert Camus articula los pilares fundamentales de su filosofía en torno a la experiencia de la muerte, que lleva al absurdo, del que debe partir la acción rebelde. En esta investigación se analizan algunas dinámicas que, pretendiendo huir de la muerte, solo han conseguido hacernos débiles frente a ella. Presentaremos a Sísifo y Rieux, (...) dos de los personajes de sus escritos, como aquellos paradigmas de conducta que pueden contribuir a hacernos más conscientes del absurdo y poder, de este modo, vivir, amar y luchar. (shrink)

In this article there is a criticism of the thesis that defines the Spanish political transition as a successful attempt to put an end to the "law of the pendulum" that had been governing our constitutional history. On the one hand, this thesis underestimates the conditions of the Spanish situation of 1978, marked by the transit between two worlds, the modern one that inherited and the emerging postmodern, which would become an unquestionable reality from 1989. In addition, the Spanish Constitution (...) of 1978 was drafted at a time when the political-normative conceptual assumptions of the dominant constitutional paradigm in Europe after World War II were declining. Likewise, the thesis ignores the specific spanish differential feature: the civil war of 1936-1939 and the subsequent rupture and radical separation of Spanish modernity into two distinct historical sections: one initiated with the French Revolution and culminated in the most absolute destruction of the pre-existing political and social order; and another that starts in 1939, since the construction of zero of a radically new pattern of society and culture, with which the Spaniards encountered in December 1975 when they assumed their full political protagonism in a situation unprecedented and completely devoid of precedents in our national constitutional tradition. (shrink)

Este artículo es un análisis de tres relatos periodísticos de la filtración de documentos de la Agencia Nacional de Seguridad de Estados Unidos, llevada a cabo por Edward Snowden: un libro, una película y una entrevista. El objetivo es sacar a la luz algunos dilemas éticos y políticos que subyacen al caso. Primero, una tensión paradójica entre la exigencia de transparencia frente al secreto estatal y la necesidad del secreto personal para el derecho a la privacidad, que refleja en nuestros (...) tiempos la dialéctica publicidad / secreto en la modernidad temprana. Segundo, la ética hack-activista enfrenta los conflictos entre anonimato y visibilidad. Tercero, los periodistas en que Snowden confía afrontan el dilema entre los deberes de la información y la protección de la confidencialidad de las fuentes. El asunto Snowden es, pues, una oportunidad para extraer algunas lecciones sobre la ética de la comunicación en la era digital. (shrink)

El texto propone una confrontación entre la fenomenología de la vita activa de Hannah Arendt y la ética del cuidado. Se trata, por una parte, de aplicar las distinciones arendtianas entre esferas pública y privada, y entre labor, trabajo y acción , a la actividad de cuidar, para reafirmar su relevancia; por otra parte, tomando el concepto de «mundo» como clave de la definición de cuidado, se ensaya una reinterpretación crítica de los conceptos de Arendt a partir de algunos análisis (...) feministas y de una fenomenología responsiva y del cuerpo, a fin de plantear una reivindicación matizada de las implicaciones públicas del cuidar, en línea con las propuestas de paso de una ética a una «política del cuidado». (shrink)

El artículo replantea, en confrontación con Reinhart Koselleck, la relación entre tiempos de crisis y esferas públicas, así como la «dialéctica», ahí implicada, entre «secreto» y «publicidad». Desde este marco interpreto la crisis contemporánea de modelos de comunicación y participación políticas, en parte por el impacto de las TIC, con referencia a fenómenos sociopolíticos recientes en España, como el movimiento 15M o el nuevo partido Podemos. La crítica genera o agudiza las crisis y éstas se expresan en aquella. El ideal (...) de la esfera pública se reconfigura con cada crisis, para confrontar a sociedad y política con el nivel de crisis su tiempo. Frente a Koselleck, reitero la exigencia normativa de esferas públicas como espacios críticos, ámbitos sociales, intermedios entre política y mundo de la vida. (shrink)

It is often said that television series are nowadays as good as films, or even better than them, but the philosophical inquiry into the former remains much less developed than the philosophy of film. A handful of recent books (e.g., Nannicelli 2016, Shuster 2017, Andrzejewski and Salwa 2018, Bandirali and Terrone 2021) have tried to fill the gap, but there is much work still to be done. Significant contributions to the aesthetics of television series are coming from television studies and (...) fil... (shrink)

This paper develops Richard Wollheim’s claim that the proper appreciation of a picture involves not only enjoying a seeing-in experience but also abiding by a standard of correctness. While scholars have so far focused on what fixes the standard, thereby discussing the alternative between intentions and causal mechanisms, the paper focuses on what the standard does, that is, establishing which kinds, individuals, features and standpoints are relevant to the understanding of pictures. It is argued that, while standards concerning kinds, individuals (...) and features can be relevant also to ordinary perception, standards concerning standpoints are specific to pictorial experience. Drawing on all this, the paper proposes an ontology of depiction according to which a picture is constituted by both its visual appearance and its standard of correctness. (shrink)

This paper considers two issues raised by the claim that fictional characters are abstract artifacts. First, given that artifacts normally have functions, what is the function of a fictional character? Second, given that, in experiencing works of fictions, we usually treat fictional characters as concrete individuals, how can such a phenomenology fit with an ontology according to which fictional characters are abstract artifacts? I will indirectly address the second issue by directly addressing the first one. For this purpose, I will (...) rely on the notion of a mental file. I will argue that the function of fictional characters is the generation of mental files of a special kind. I will show that our experience of fictional characters as concrete individuals depends on the kind of mental files that are generated by fictional characters as abstract artifacts. I will conclude that an appreciator of a work of fiction can open two files about a certain fictional character; one about the character as an individual in the fictional world, and the other about the character as an abstract artifact in the actual world. In this sense, our relation to a fictional character is characterized by a duality of files or ‘twofileness’. (shrink)

Regardless of whether one agrees or disagrees with Stacie Friend’s claim that fiction is a genre, her notion of genre can be fruitfully applied to a paradigmatic genre such as science fiction. This article deploys Friend’s notion of genre in order to improve the influential characterization of science fiction proposed by Darko Suvin and to defend it from a criticism recently raised by Simon Evnine. According to Suvin, a work of science fiction must concern “a fictional ‘novum’ validated by cognitive (...) logic.” While Suvin conceives of his characterization as a necessary and sufficient condition for membership in the genre, I propose to cast the notions of “fictional novum” and “cognitive validation” as standard features of the genre, which works of science fiction should have but might lack. I argue that this amended version of Suvin’s characterization can better account for two basic properties of science fiction as a genre, namely its historicity and its relevance to appreciation. Lastly, I show that the amended version can shed some light on the affinity between works of science fiction and philosophical thought experiments. (shrink)

In recent years, increasing attention has been devoted to the underrepresentation, exclusion or outright discrimination experienced by women and members of other visible minority groups in academic philosophy. Much of this debate has focused on the state of contemporary Anglophone philosophy, which is dominated by the tradition of analytic philosophy. Moreover, there is growing interest in academia and society more generally for issues revolving around linguistic justice and linguistic discrimination (sometimes called ‘linguicism’ or ‘languagism’) (see e.g. Van Parijs 2011). Globalization (...) and the increasing adoption of English as global linguistic vehicle or lingua franca push these issues at the forefront of much of the world’s attention. The convergence of these two trends suggests the appropriateness of an analysis of the condition of non-native speakers of English in analytic philosophy. (shrink)

Desde un punto de vista interdisciplinar, esta investigación explora la forma en que la palabra miedo funciona en la novela de Miguel Ángel Oeste Vengo de ese miedo (2022). A partir de este análisis, el trabajo pretende dar cuenta de la problemática de la identidad y la búsqueda del sentido del ser humano en el mundo contemporáneo, esclarecer la importancia del cuerpo y las emociones en la sociedad posmoderna y arrojar más luz sobre una de las tendencias más importantes de (...) la literatura actual, como es la autoficción. (shrink)

Conceiving of fictional characters as types allows us to reconcile intuitions of sameness and difference about characters such as Batman that appear in different fictional worlds. Sameness occurs at the type level while difference occurs at the token level. Yet, the claim that fictional characters are types raises three main issues. Firstly, types seem to be eternal forms whereas fictional characters seem to be the outcome of a process of creation. Secondly, the tokens of a type are concrete particulars in (...) the actual world whereas the alleged tokens of a fictional character are concrete particulars in a fictional world. Thirdly, many fictional characters, unlike Batman, only appear in one work of fiction, and therefore one can wonder whether it does make sense to treat them as types. The main aim of this paper is to address these issues in order to defend a creationist account of fictional characters as types. (shrink)

Despite numerous publications on the philosophy of technology, little attention has been paid to the relationship between being and value in technology, two aspects which are usually treated separately. This volume addresses this issue by drawing connections between the ontology of technology on the one hand and technology's ethical and aesthetic significance on the other. The book first considers what technology is and what kind of entities it produces. Then it examines the moral implications of technology. Finally, it explores the (...) connections between technology and the arts. Enrico Terrone is Associate Professor at the University of Genoa, Italy. He works on philosophical issues concerning aesthetics, ontology and technology. His main area of research is philosophy of film. His most recent previous book (co-authored with Luca Bandirali) is Concept TV: An Aesthetics of Television Series (2021). Vera Tripodi is Assistant Professor at the University of Milan, Italy. She specializes in feminist philosophy and ethics, bioethics, ethics of technology, and social ontology. She is a Founding Member and Vice President of the SWIP ITALIA (The Society for Women in Philosophy - Italy). (shrink)

Both perception and imagination seem to play a crucial role in our engagement with fiction films but whether they really do so, and which role they possibly play, is controversial. On the one hand, a fiction film, as film, is a depiction that invites us to perceive the events portrayed. On the other hand, as fiction, it invites us to imagine the story told. Thus, after watching the film Alien, one might say that one saw Ripley fighting the monster but (...) one might also say that one imagined Ripley fighting the monster. Are these two reports compatible? If they are, how can we combine them so to make sense of them? If, instead, they are not, which of them should we give up? (shrink)

Television series seem to be made of images and sounds just like films, but Luca Bandirali and Enrico Terrone suggest an alternate framework for understanding television series: as concepts whereby narratives made of images and sounds can be constructed.

Las 15 piezas que ahora lo conforman abrevan en la Historia, en confeciones personales y entrevistas, y mezclan la literatura y el periodismo de manera audaz y perfecta. Los protagonistas son hombres excepcionales y el momento que se ha elegido para contar son las visperas de sus muertes -tal vez el momento de mayor soledad y de mayor intimidad de un hombre. A traves de la magistral escritura de Tomas Eloy Martinez tenemos el privilegio de asistir a los ultimos (...) minutos de sus vidas, el momento previo a perderlo todo y cuando, resistiendo a la indiferencia del mundo, se suena con alguna inmortalidad. (shrink)

What aesthetic interest do we have in watching films? In a much debated paper, Roger Scruton argued that this interest typically comes down to the interest in the dramatic representations recorded by such films. Berys Gaut and Catharine Abell criticized Scruton’s argument by claiming that films can elicit an aesthetic interest also by virtue of their pictorial representation. In this article, we develop a different criticism of Scruton’s argument. In our view, a film can elicit an aesthetic interest that does (...) not come down to an interest in the dramatic representation or in the pictorial representation. We will argue that this is a distinctively cinematic interest. In section I we outline Scruton’s argument. In section II we point out an interest in how the cinematic medium presents the portrayed subject as detached from the spectator’s environment. In section III, by referring to Wittgenstein’s account of the contemplation from outside, we contend that the interest in films introduced in section II can count as an aesthetic interest. In section IV we argue that both documentaries and fiction films can elicit this kind of interest. In section V we compare the three different kinds of aesthetic interest that, in our view, a film can elicit. In section VI we describe the corresponding kinds of cinematic achievements. (shrink)

This introduction accounts for three main elements characterizing digital media and the recent history of their interpretation and understanding. The authors label these three elements: “interaction”; “recording”; and “autonomy.” First, digital media somehow subvert the traditional notion of mass media. In digital media, the masses do not passively receive information; rather, they contribute to its creation and diffusion. Second, digital media involve a complete overlapping between communication, on the one hand, and recording, registration and keeping track, on the other. For (...) sure, information production and communication remain important aspects of digital media. And yet, for a few years now, recording, registration and keeping track have taken the upper hand. The third element characterizing digital media is that a crucial role is assigned to software, which is not only able to transmit and store information, but also to manipulate it. Digital media do not limit themselves to help our minds or to interconnect us with other human subjects. In digital media, recording often involves the autonomous manipulation, combination, and recombination of what is recorded. (shrink)

Marcel Proust’s In Search of Lost Time, raises an interesting philosophical issue, namely, how can one be in touch with past things if they no longer exist? It provides us with a way to address this issue by outlining an ontological view according to which past things still exist within a four-dimensional world. Although one cannot be in touch with past things by means of ordinary perception, one can do so by combining perception and memory. In this sense, In Search (...) of Lost Time helps us to reconcile a four-dimensionalist ontology according to which things have both spatial and temporal parts with a realist phenomenology according to which experience gives us access to things as they are. In so doing, Proust’s masterpiece allows us to shed some light on what it means for a subject of experience to exist in a four-dimensional world. (shrink)

We provide an account of necessary a posteriori identity statements that relies upon Perry’s multipropositionalism. On our account an utterance of, e.g., ‘Hesperus is Phosphorus’, semantically makes available several propositions, one of which is necessary (and a priori) and another of which is a posteriori (and contingent). Since our view resembles two-dimensionalism, one might assume that it is undermined by the sorts of nesting arguments that Soames and others have raised against two-dimensionalism. We demonstrate, however, that our account is immune (...) to such nesting arguments. (shrink)

This paper explores some phenomenological consequences of the ontological affinity between films and pop songs. Given the central place of the recording technology in both films and pop songs, one can wonder whether pop songs can elicit from their listeners the same kind of experience that films elicit from their spectators. In other words, one can wonder whether pop songs encourage us to play a ‘game of make-believe’ analogous to that we play when we engage with films. The main part (...) of the paper is meant to provide a positive answer to this question. The remaining sections illustrate and test the proposed account by contrasting paradigmatic pop songs with borderline cases. (shrink)

The main accounts of the documentary in contemporary analytic aesthetics have difficulties in dealing with the distinction between documentaries and docudramas. On the one hand, the assertion-based accounts proposed by Carroll, Ponech and Plantinga cannot properly differentiate documentaries from docudramas. On the other hand, Currie’s account can do so by relying on the notion of trace but this involves an undesirable side-effect, namely, the exclusion, from the documentary, of those documentaries that do not include traces of their subjects, as for (...) instance documentaries that resort to reenactments. Is there a way to exclude docudramas from the documentary without also excluding other films that we usually treat as documentaries? The paper affirmatively answers to this question by relying on the notion perceptual belief, that is, a belief that one can form by endorsing one's perception. Documentaries are defined as films that mandate us to form perceptual beliefs. Even if a docudrama mandates us to form beliefs, it does not mandate us to form perceptual beliefs, and thus does not count as a documentary. By contrast, a documentary that resorts to reenactments still mandates us to form perceptual beliefs and thus properly satisfies the definition proposed. (shrink)