This book discusses Thomistic commentary on the topics of physical premotion, grace, and the permission of sin, especially as these relate to the mysteries of predestination and reprobation. The author examines the fundamental tenets of the classical Thomistic account, and on this basis critiques the 20th century revisionist theories of Domingo Banez, Reginald Garrigou-Lagrange, Francisco Marin-Sola, Jacques Maritain, Bernard Lonergan, and Jean-Herve Nicolas. In conclusion, the implications of the traditional view are considered in light of the spiritual life.

La morbidez es el rasgo propio de la postmodernidad. La liberal y vanguardista sociedad postmoderna es una entidad enferma; mental, emocional, física y ambientalmente patológica. Paradójicamente, en la época que más se pondera, reclama, promueve y comercializa la felicidad en cuanto destino humano, los trastornos emocionales del padecer y el sufrimiento se han convertido en el habitus propio de la vida contemporánea; donde el acontecer social se resuelve en la patológica dialéctica de monstruos victimarios y víctimas ofendidas. Parafraseando a Galeano (...) (De la Cruz, 2012), bien es posible sentenciar: »La neutralidad es imposible, somos monstruos o víctimas«. (shrink)

El Espacio Europeo de Educación Superior (EEES) impone un modelo formativo basado en competencias orientado a mejorar la capacitación estudiantil y responder a las demandas sociales y laborales. Este artículo pretende avanzar en el conocimiento teórico de los constructos “inteligencia interpersonal, competencia social, inteligencia emocional e inteligencia social” y su relación con el desempeño laboral futuro, mediante una revisión bibliográfica sistemática. Una persona socialmente inteligente puede desenvolverse mejor con otras personas con las que se comunica o interactúa.

The current literature shows great interest in the issue of gender diversity on boards of directors. Some studies have hypothesized a direct relationship between diversity and the value of the firm, but not many examine the intermediate mechanisms that may exert an influence on such relationships. We employ two stages of GMM estimation methodology to exhibit evidences of the relationship between gender diversity and compensation of top managers in the Spanish context. Results show that gender diversity positively affects the effectiveness (...) of boards—in terms of composition, structure, size and functioning—influencing a proper design of top managers compensation linked to company performance. Evidences suggest that legislative actions aimed at increasing the presence of women on boards of directors are justified not only for ethical reasons, but also for reasons of economic efficiency. (shrink)

Las diversas técnicas de reconstitución del Símbolo, en Occidente, consisten en el desciframiento sistemático de los signos de un logos originario que debe ser restaurado, dentro de la acción reconstructiva de los dispositivos procedimentales de una dialéctica metodológica, donde la dispersión mundana de las diferentes partes que conforman el código de la creación son reconciliadas mediante una philia, al propio tiempo que se armoniza el resarcimiento de la totalidad orgánica por la intervención de una sophía, en la lógica rectora de (...) un intelecto provisto de la disposición para reconocer los sentidos de significación de la Unidad trascendental que organiza la existencia, producto de su correspondencia trascendental con la Inteligencia del Demiurgo. (shrink)

La relación existente entre el Estado y los ciudadanos remonta épocas antiguas, donde se le exigía la contribución para el pago de los gastos de la monarquía, con el desarrollo del hombre moderno nace la Relación Jurídica Tributaria, donde esta representa la personificación tanto de la potestad de imposición como del deber de contribución, mejor conocidos y aceptados como Sujeto Activo y Sujeto Pasivo, a través de las distintas acepciones, en tal sentido se analiza esta relación a la luz del (...) ordenamiento jurídico venezolano, enmarcada en una investigación de tipo documental, mediante la observación directa y aplicándola hermenéutica jurídica y teniendo como bases fundamentales la Constitución de la República Bolivariana de Venezuela (Asamblea Nacional Constituyente, 1999), Código Orgánico Tributario (Asamblea Nacional, 2001), jurisprudencia patria y de la doctrina tanto nacional como extranjera, se determinó en esta investigación la génesis de la Relación Jurídica Tributaria a través de los actores intervinientes, Sujeto activo, Sujeto Pasivo en sus distintas posiciones, contribuyente solidario, contribuyente Responsable, de igual forma la Relación Jurídica Tributaria desencuentra fundamentada en el hecho imponible, siendo esta la raíz de la tributación a cualquier nivel, bien sean impuestos, tasas o contribuciones. Igualmente la base imponible, significa representación monetaria del hecho imponible la cual será objeto de un tratamiento fiscal para una determinación de un tributo a pagar. (shrink)

Hace ya varias décadas que Latinoamérica salió del colonialismo “centroeuropeo”, como lo llama Dussell; sin embargo, se mantiene una actitud de “colonialidad”, entendida como un proceso amplio de control hegemónico de imposición de conocimientos, prácticas y formas culturales en todos los campos de la vida social, al tiempo que se desprecian y desdeñan los valores autóctonos, los conocimientos ancestrales y populares que Boaventura de Sousa Santos denomina con la metáfora de “Las epistemologías del sur”; es decir, aquellas epistemologías de quienes (...) no han tenido voz ni voto en las decisiones trascendentales de la vida social, económica, política y cultural, como los desposeídos, los marginados de la sociedad, campesinos, indígenas, afrodescendientes, homosexuales, entre otros. Los responsables de esta actitud colonialista, no solamente han sido los gobiernos que, mediante convenios y tratados bilaterales y multilaterales con las potencias hegemónicas, financian proyectos de diversa índole e imponen sus criterios e intereses en los distintos campos de la economía, la política y la educación. Pero también la misma educación ha tenido su responsabilidad en este proceso. El conocimiento impartido en las universidades es hegemónico y colonizador, que llega de Europa y Norte América. Por esta razón, la ciencia y el conocimiento que se producen en estas regiones, debe construirse para su validez, con las epistemologías y las metodologías de estas potencias; mientras que los conocimientos culturales, populares y ancestrales, se consideran obstáculos epistemológicos que no pueden convivir e interactuar con la epistemología de la ciencia clásica. Es por esto que la Universidad también tiene que “decolonizar” sus saberes, para alcanzar un espacio transcultural que incluya todos aquellos conocimientos y cosmovisiones populares y tradicionales para que puedan ser tenidos como pares, en un diálogo de saberes dentro de los procesos de formación y aprendizaje. (shrink)

Las micotoxinas son metabolitos fúngicos secunda­rios que pueden ejercer un efecto tóxico tanto en el hombre como en los animales debido, principalmente, a su exposición a través de los alimentos. La presencia de estos compuestos ha sido demostrada en una amplia variedad de materias primas, alimentos y piensos, en los que lo habitual es encontrar de for­ma frecuente una contaminación múltiple por diferentes mico­toxinas, en pequeñas cantidades, lo que puede generar efectos tóxicos subcrónicos, así como bioacumulación. Este artículo revisa los (...) principales elementos que configuran la problemática de las micotoxinas para el hombre y los animales, y aborda los retos de futuro que se plantean en el estudio de las micotoxinas, entre los que destacan el efecto que el cambio climático puede tener sobre el patrón de contaminación por micotoxinas en los alimentos, el descubrimiento creciente de nuevas micotoxinas en formas modificadas, la evaluación de la coexistencia de estas to­xinas y otros contaminantes, y las formas para detectar e intentar eliminar estos compuestos tóxicos de los alimentos. (shrink)

En este artículo se presentan las reflexiones epistemológicas del filósofo Francisco Fernández Buey (1943-2012), las cuales, han estado continuamente presentes en la obra del autor al menos desde la publicación en 1991 de La ilusión del método, y culminan en su obra póstuma Para la tercera cultura (2013) en una apuesta por la complementariedad entre ciencias positivas y reflexión humanística. Partiendo de un marxismo heterodoxo tanto en el plano ético-político como en el epistemológico, Fernández Buey apuesta por una idea (...) de ciencia alejada del positivismo, a la vez que critica las filosofías contrarias a aquella en la medida en que la consideran como un conocimiento meramente reductor de una realidad que no puede ser aprehendida por la ciencia. Desde el concepto de dialéctica de Manuel Sacristán; el reconocimiento a la figura de Einstein como ejemplo de científico que no renuncia a otros modos de conocimiento; y la reflexión sobre la filosofía de la ciencia en la segunda mitad del siglo XX, el autor nos muestra la necesidad de un diálogo entre cultivadores de la ciencia y las humanidades para afrontar los desafíos del siglo XXI. (shrink)

This essay addresses one of the central questions in the ongoing debate about just war theory: are soldiers morally responsible for serving in unjust wars? Francisco de Vitoria addressed this question in the sixteenth century using the concepts of invincible and vincible ignorance. He excused soldiers serving in unjust wars, if they did not know the war was unjust and if they did not have the means to overcome their ignorance; if they had the means, they were morally culpable. (...) In modern just war theory, ignorance is still used both to blame and excuse military service in unjust wars. This essay identifies ten different ways that scholars have used ignorance to argue about the moral responsibilities of soldiers. It then applies the different meanings of ignorance to soldiers serving in Western nations and, using Vitoria’s means tests, evaluates if modern soldiers do indeed have the means to overcome their ignorance. Since many soldiers do have the means, invincible ignorance should no longer be used as an excuse for their service in unjust wars; furthermore, soldiers may, in fact, be morally culpable for serving in them. (shrink)

El proceso de despoblación rural en el Valle del Genal se ha visto agravado en las últimas décadas, provocado en parte por el éxodo de sus habitantes en la búsqueda de oportunidades laborales o mejores servicios y equipamientos. La proximidad de la Costa del Sol, en continuo crecimiento turístico desde los años 60, ha sido un fuerte atractor de población activa, favoreciendo esta dinámica. La interrelación entre ambos territorios supone una temática de sumo interés y una oportunidad como laboratorio de (...) estudio e investigación en el marco de la asignatura “Patrimonio, Turismo y Territorio” de la Escuela de Arquitectura de Málaga. (shrink)

Apresenta-se neste artigo o papel desempenhado pelo bispo e arcebispo de Cuiabá Dom Francisco de Aquino Corrêa na construção da identidade mato-grossense, entre as décadas de 1910 a 1930. Como governador de Mato Grosso, interveio na esfera cultural a fim de fortalecer as elites cuiabanas e superar as crises política, econômica e social. Para tal, arregimentou um grupo de intelectuais que se empenharam na construção da identidade regional assentada na idealização das terras e do homem mato-grossense, superando os estigmas (...) de fronteira-sertão. Para tal, criou o Instituto Histórico e Geográfico de Mato Grosso e a Academia Mato-grossense de Letras, símbolos regionais, e realizou sucessivas manifestações culturais. Como membro da hierarquia eclesiástica, empenhou-se em recuperar o prestígio da Igreja Católica, valorizar os aspectos religiosos da cultura brasileira e propagar o regionalismo, o nacionalismo e o culto à nação. (shrink)

Convocada por diferentes estudiosos de los Padres de la Iglesia y del cristianismo antiguo en Latinoamérica, a saber, los profesores Ana Cristina Villa Betancourt, Andrés Mauricio Quevedo Rodríguez y Estiven Valencia Marín, de Colombia; Alejandro Nicola y Francisco Basttita-Harriet, de Argentina; Bruno Gripp, de Brasil; Pamela Chávez Aguilar, de Chile; y Jesús Ma. Aguiñaga Fernández, de México.

Este texto intenta comprender la naturaleza de la reflexión radical que debe ser la filosofía y cómo es diferente de una reflexión intelectualista o cartesiana. Mientras que la última se concibe como todopoderosa, capaz de constituir el mundo por sí sola, la reflexión radical reconoce, por el contrario, lo que está más acá de ella, es decir, la enorme zona carnal que Merleau-Ponty caracteriza como “objetivo previo” o “irreflexivo”. Solo entendiendo la reflexión radical como libertad, invención y apropiación del sentido, (...) parece resolverse la contradicción entre intelectualismo y conciencia encarnada, ello para dilucidar la fuerza de la fenomenología donde parece mostrar su debilidad, es decir, precisamente en el trabajo de comprensión del mundo en relación con la conciencia. Para este propósito se explora la obra de Merleau-Ponty, particularmente la Fenomenología de la percepción, en función de un análisis inmanente de los conceptos de percepción y libertad propios de consideraciones fenomenológicas del filósofo francés. Como conclusión de este análisis se deriva la posibilidad de comprender que dada la tendencia de la reflexión radical a tratar de transgredir sus límites, esta podría convertirse en una reflexión intelectualista o idealista, mientras que la libertad podría convertirse en un bloqueo en la experiencia adquirida, ello exigiría, entonces, que tanto la reflexión radical como la libertad se relacionen de manera continua y moderada en el mundo de la percepción para poder configurar una experiencia cualificada y no empobrecida del mundo. (shrink)

O artigo analisa os posicionamentos de D. Francisco de Aquino Corrêa, arcebispo de Cuiabá, sobre o Brasil e a defesa do patriotismo cristão. Como um dos porta vozes da hierarquia eclesiástica brasileira e da Santa Sé, conquistou grande projeção e influência social entre as décadas de 1910 e 1940. As referências empíricas são os discursos e as cartas pastorais do período de 1920 a 1940. D. Aquino repensava e defendia novas formas de participação e de valorização da Igreja Católica (...) como força legitimadora do poder, enquanto instituição disciplinadora da sociedade e como defensora do caráter nacional e do processo Diálogos civilizatório brasileiro. (shrink)

Casado, María y López Baroni, Manuel Jesús, Manual de bioética laica (I). Cuestiones clave, Barcelona, Observatori de Bioética i Dret, Univesitat de Barcelona, 2018, 219 pp.

Foucault plantea que no hay una sola racionalidad desde la que sean pensables todas las dimensiones de la actual complejidad, por el contrario, la comprensión del presente abre el espacio al análisis histórico de las instituciones sociales y de sus procesos, por medio de dispositivos teórico-metodológicos desarrollados por el enfoque divergente del autor, que amplía la reflexión de los procesos de construcción, reconstrucción y modificación de las representaciones y las identidades sociales. Uno de los ejes de análisis es el sentido (...) común, por ello surge la pregunta ¿cómo el sentido común ordena la palabra? y ¿qué hay de amenazante en las palabras de las personas? Aunado, el análisis del discurso saca a la luz el juego de su poder de afirmación de dominios de objetos. Otro eje es el poder, instrumento conceptual para entender, pensar y ordenar el mundo social, a los sujetos y a sus prácticas sociales y culturales. Poder, productor de conocimiento y realidad, que determina las vías por las cuales se construyen las verdades aceptadas en una época determinada. Foucault lo propone como un poder productor, creador de un régimen de verdad que desarrolla un pensamiento sistematizador y racional, lo mismo que creador de subjetividades. (shrink)

En el siguiente artículo analizo con respecto a países con altos niveles de inmigración y en términos de legitimidad democrática, el reto que plantea la existencia en los mismos de sectores de la población que, por carecer de la nacionalidad del Estado de residencia, carecen de la plenitud de derechos y libertades que nutren el espacio de igualdad cívica en un orden liberal democrático. Centro mi análisis en el colectivo de los llamados "inmigrantes ilegales", que es el que está sujeto (...) a una mayor precariedad jurídica. A fin de superar la creciente disociación entre población y comunidad política exploro la necesidad de articular nuevos fundamentos de inclusión dentro del demos y propongo, entre ellos, el de la residencia y el arraigo social que generalmente la acompaña. La fuerza normativa de los fundamentos que exploro es, a mi entender, de suficiente entidad como para superar los reparos morales asociados al carácter "ilegal" del origen de la inmigración. Desde estas premisas concluyo con una valoración negativa de la reciente reforma de la Ley Orgánica 4/2000 sobre derechos y libertades de los extranjeros en España y su integración social que a la vez restringe el acceso a derechos y libertades de los llamados "ilegales" y dificulta los cauces de subsanación quasi-automática de su ilegalidad. (shrink)

In the context of understanding Nature's Contribution to People, this article explores the Mapuche value system and its contributions to living well by conserving nature. Through the context-specific approach, the findings shows that the Mapuche Az-Mapu is important for bio-cultural conservation in Chile. Deepening understanding of the distinct Mapuche value system shows the importance of rights and sovereignty for other coastal stateless nations who are enhancing bio-cultural conservation around the world. The article explores the importance of maintaining Mapuche values in (...) the context of Indigenous Marine Areas in Chile and linking to land-based rights. This research makes use of semi structured interviews and intercultural dialogue among the authors, to understand how traditional Mapuche concepts under the framework of Az-Mapu, are continued today in local marine conservation and other ecosystems. In this context, we ask how well these eudemonic relational values resonate with Mapuche values of nature. This article shows that rights for the marine environment can be expanded to additionally allow indigenous communities safeguard wetlands, lakes and forests which are indivisible under Az-Mapu. Greater recognition of this different form of valuation can better account for the dynamic relations between individuals, cultures, and ecosystems, as well as showing the importance in allowing indigenous communities to take back control of conservation under their own terms. (shrink)

La carta del 20 de noviembre de 1629 dirigida al famoso padre franciscano Marin Mersenne puede ser considerada como el documento en que Descartes consigna su opinión respecto al proyecto de un lenguaje universal. emprender la búsqueda de un lenguaje universal, artificial y perfecto, era una meta muy popular en el siglo XVII, que según algunos es la que mejor refleja el ideal filosófico de la época.

Este trabajo estudia el pensamiento teológico y filosófico de Francisco Suárez sobre la libertad. El problema de la Concordia entre gracia y libertad, suprime el concepto de naturaleza como quicio del pensamiento filosófico cristiano. La libertad se sitúa como causa metafísica formal en Suárez, no como fundamento a la manera moderna de un Yo afincado en sus solas fuerzas, sino como principio heurístico y creador de un ser lleno de posibilidades cuya afirmación: “soy libre”, sintetiza la filosofía suareciana, y (...) hace inteligibles las realidades dadas por la experiencia concreta para obtener una comprensión superior.Palabras llave: Francisco Suárez; teología neoescolástica; filosofía neoescolástica.This work studies Francisco Suárez’s theological and philosophical thought about freedom. The problem of agreement between grace and freedom suppresses the concept of nature as physis and its ethiology, as a referential shelf for Christian philosophical thought. In Suárez, freedom is placed as a formal metaphysical cause, not as a foundation in the modern manner of an “I” based on its sole forces, but as heuristic principle that creates a being full of possibilities, whose statement: “I am free”, synthesizes Suárez’s philosophy and makes intelligible the realities given by concrete experience in order to obtain a superior understanding.Palabras llave: Francisco Suárez; theology; liberty. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THEOLOGY AT FRIBOURG SINCE ITS FOUNDATION in 1889, the faculties of theology and of philosophy at the University of Fribourg in Switzerland have been under the auspices of the Dominican Order. Unlike the Catholic University at Lublin (Poland) where a consciously developed school of phenomenological Thomism exists, one can speak only in the broadest terms about a "Fribourg school" of philosophy or theology. The reason for this lies in (...) the fact that members of the Faculty have professionally proved themselves in varied and highly specialized areas of theology, in dogmatic and moral theorology, in exegesis, canon law, liturgy, etc. Historically this appraisal finds verification when one considers the contributions made in the first half of the century by such men as N. del Prado, F. Marin-Sola, and G. Manser in dogmatics; D. Prummer in morals; V. Zapletal and M. Sales in Scripture; and P. Mandonnet in historical theology.1 A similar list of distinguished philosophers and theologians who have taught in the more recent past or who are actually teaching at the University could be drawn up, although it would be too long to include here. The books chosen for discussion in this article have been recently published by three members of the Faculty of theology-two of whom are emeritus. Although they represent a small part of the present Faculty's scholarly output, they do provide, as the titles indicate, substantial samples of the full range of systematic theological inquiry in ethics and dogma. Nonetheless, the shared conception of theology which directs each author's approach to his respective discipline warrants joint consideration. 1 Information on the early period of the University may be found in J. Bondallaz, "Suisse" in the Dictionnaire de Theologique Oatholique, Vol. 14 (Paris, 1941) : Cols. 2733-2760. 325 326 ROMANUS CESSARIO, O.P. Broadly speaking, this shared conception derives from the strongly unified view of theology as sa.cra doctrina set forth by St. Thomas Aquinas at the very beginning of his Summa theologiae. By definition Christian theology results from intelligent reflection upon the revealed Word of God. As such it embraces within its range of concerns everything which has to do with God himself and the real world He created. Still, because of his capacity for an authentic relationship with the blessed Trinity and the special destiny implied in the status of adoptive sonship, the human person holds a privileged place among theology's interests. As a result, the starting point for theology is the words and deeds of Jesus Christ as they have been recorded in the canonical Scriptures. These acta et gesta Christi hold a unique place in the life of the Christian Church precisely because of who Jesus is, a man, one like us, hypostatically united to the divine Logos. For Aquinas theology finds its starting point in the very depths of God's Being where the Eternal Father speaks the personal Word which perfectly reflects the Godhead. In this St. Thomas reflects the clear Johannine teaching on the Trinitarian origins of all Christian life and thought, " Now they know that everything that thou hast given me is from thee; for I have given them the words thou gavest me...." (John 17 7,8). This shared conception of the nature and purpose of theology as well as the common site of their teaching careers unite the Dominican authors whose works are discussed here.2 I In his book, Theologia, which received much attention in theological educational circles, Edward Farley described a 2 Jean-Herve Nicolas, O.P., Synthese Dogmatique: De la Trinite ala Trinite (Fribourg [Suisse]: Editions Universitaires and Paris: Editions Beauchesne, 1985). Pp. xii+ 1248. FS 120,-. Servais (Th.) Pinckaers, O.P., Les sources de la morale chretienne. Sa methode, son contenu, son histoire. Etudes d'ethique chretienne, Vol. 14 (Fribourg [Suisse]: Editions Universitaries and Paris: Editions du Cerf, 1985). Pp. 523. FS 45.-. Ceslaus Spicq, O.P., Oonnaissance et Morale dans la Bible. Etudes d'ethique chretienne, Vol. 13 (Fribourg [Suisse]: Editions Universitaires and Paris: Editions du Cerf. 1985). Pp. 186. THEOLOGY AT FRIBOURG 327 process he called the fragmentation of theology.3 Arguing from within the Protestant experience, Farley points to certain historical circumstances which explain... (shrink)

Estudio desde las distintas perspectivas de comprensión de las políticas de vigilancia y control social de la vida al enfocar la actual pandemia. Se enfatiza que todas esas políticas se aplican hoy mediante las TIC, extendiendo el dominio digital sobre el mundo offline y transformando la pandemia en tecnopandemia. Así resultan todas ellas, biopolítica, teoría de la excepción y psicopolítica, conceptualmente superadas por la tecnopolítica. La tecnopolítica es la forma político-social de la vida onlife, la práctica de un poder infodémico, (...) que utiliza tecno-personas, que no son ni individuos ni tampoco sujetos políticos, para controlar y someter la vida offlife. (shrink)

Es mi intención como Editor recién estrenado de los Anales de la Cátedra Francisco Suárez hacer lo posible para que la revista siga siendo un foro de referencia en la reflexión filosófica sobre los problemas que plantea la organización política de la convivencia social. Han sido precisamente esa determinación y ese criterio los que han inspirado la elección del tema al que está dedicada la Sección Monográfica de este número: el populismo.Hasta hace relativamente poco, el populismo parecía un fenómeno (...) singular hasta la extravagancia, geográficamente remoto e ideológicamente tan extremo que lo normal era decretar su irrelevancia práctica. Sin embargo, tras la gran recesión iniciada en 2008, hemos asistido a una asombrosa irrupción populista. El populismo se ha manifestado de un modo especialmente intenso allí donde, en cierto sentido, era endémico; se ha extendido, con mayor o menor ímpetu y con distintas máscaras, por todos los rincones de Europa, hasta poner en peligro la continuidad del proyecto de integración europeo; y, como colofón, ha terminado afectando a países teóricamente vacunados frente al virus populista y considerados auténticas luminarias democráticas, como es el caso de los Estados Unidos y de Gran Bretaña, que han terminado sucumbiendo a los cantos de sirena populistas. Todas esas circunstancias justificaban, por sí solas, una indagación filosófica sobre el fenómeno populista. (shrink)

En esta investigación intentaremos explicitar hasta qué punto Ser y Tiempo es una suerte de tentativa por retomar, en forma correcta, el originario proyecto filosófico que Kant desplegó en su Crítica de la razón pura. Para lograr justificar nuestra conjetura nos centraremos especialmente en la obra de Heidegger Kant y el problema de la Metafísica (1929). En dicho texto nos encontraremos con una controvertida interpretación que el pensador de Meßkirch elaboró del opus magnum de Immanuel Kant. Interpretación que, justamente, podría (...) sugerirnos que su Ser y Tiempo, no sólo estaría hermanado con la Crítica de la razón pura, sino que vendría a ser una correcta continuación del camino allí trazado por el filósofo de Königsberg. (shrink)

In this article, I draw on psychoanalysis to provide a novel understanding of Suits’ theory of games by analyzing the riddle in the Grasshopper’s recurring dream, which Suits presents in his semina...

Nuestro sistema musical de referencia está basado en la division de la octava en doce partes, doce semitonos, iguales. Aunque adecuada tal configuración a la práctica musical, conlleva en el plano teórico una serie de problemas, como que, a excepción de la propia octava, no haya ni una sola consonancia natural (justa) o que la razon deI semitono sea 12√2. Tal temperamento igual no se impone definitivamente hasta mediados deI s. XVIII, pero ya a finales deI s. XVI se llega (...) a su formulación y determinación exactas, bien que no de forma matemática. En este esfuerzo merece especial atenciónla figura deI teórico musical español Francisco Salinas.Our tonal system of reference is based· on division of the octave into twelve equal parts, twelve semitones. Although this configuration is suitable for practical musical purposes, it poses some problems for music theory. For example, apart from the octave itself, there is not one natural (just) consonance. Also, the semitone ratio results to be 12√2. This equal temperament was not definitively imposed until the middle of the 18th Century, but by the end of the 16th Century its precise formulation and calculation, although not in its mathematical form, had been completed. The spanish humanist and music theorist Francisco Salinas was one of the key figures responsible for this task. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Descartes’ Meditations: Background Source Materials ed. by Roger Ariew, John Cottingham, and Tom SorellRichard A. WatsonRoger Ariew, John Cottingham, and Tom Sorell, editors. Descartes’ Meditations: Background Source Materials. Cambridge: Cambridge University Press, 1998. Pp. xviii + 170. Cloth, $54.95. Paper, $18.95.This volume includes primarily source materials from authors who were contemporary to Descartes’s composition of the Meditations. Thus there are no selections from Augustine, Aquinas, and Montaigne, for (...) example, who were more influential on the Meditations than some of the authors excerpted. Of course their influence is already amply documented by such scholars as Gilson and Gouhier. Probably the most important source included is Suárez, whose role is championed by Jean-Luc Marion in several works. Readers should look for the forthcoming Index Augustino-Cartèsian: Textes et Commentaire by Zbigniew Janowski (Paris: J. Vrin) for a startling challenge to the view that Descartes is Suárezian.In the volume under review, Eustachius a Sancto Paulo is of special interest because Descartes thought of refuting him item by item (but decided exposition of his own view would be adequate). In his youth Descartes had a definite interest in Petrus Ramus, although Beeckman told him his method consisted of tired old tricks. Francisco Sanches and Pierre Charron are important for their expositions of sceptical arguments and attitudes. Christopher Clavius is Descartes’s direct predecessor in mathematical analysis, and none of Descartes’s protests that he never read the man has convinced anyone. Scipion Dupleix is a fine example of how the Old Philosophy appeared to the New Philosophers, and Marin Mersenne, of course, compiled material on every subject Descartes ever had an interest in. Pierre Gassendi exercised Descartes’s ire more than any other commentator on the Meditations, and Descartes again probably read Gassendi’s continuing criticisms even though he claimed he wouldn’t. [End Page 366]Of special interest is Jean de Silhon, an old friend of Descartes’s who published a book containing a proto-cogito three years before the Meditations appeared. François de la Mothe le Vayer represents the libertine strain many detect in Descartes’s writings, while Jean-Baptiste Morin provides fodder for those who detect Descartes’s piety, although Descartes asserts that the man is an idiot for defending the immobility of the earth. Finally, Charles Sorel provides an example of the deductive mode of exposition in a text that shows that the notion of a unified science was more than Cartesian. One contemporary who was left out and should have been included was the Augustinian Guillaume Gibieuf.But overall, this is an interesting and useful collection of works Descartes doubtless knew. [End Page 367]Richard A. WatsonWashington UniversityCopyright © 1999 Johns Hopkins University Press... (shrink)

This article presents counter evidence against Smolensky's theory that human intuitive/nonconscious congnitive processes can only be accurately explained in terms of subsymbolic computations carried out in artificial neural networks. We presentsymboliclearning models of two well‐studied, complicated cognitive tasks involving nonconscious acquisition of information: learning production rules and artificial finite state grammars. Our results demonstrate that intuitive learning does not imply subsymbolic computation, and that the already well‐established, perceived correlation between “conscious” and “symbolic” on the one hand, and between “nonconscious” and (...) “subsymbolic” on the other, does not exist. (shrink)

This volume provides a much needed, historically accurate narrative of the development of theories of space up to the beginning of the eighteenth century. It studies conceptions of space that were implicitly or explicitly entailed by ancient, medieval and early modern representations of the cosmos. The authors reassess Alexandre Koyré’s groundbreaking work From the Closed World to the Infinite Universe and they trace the permanence of arguments to be found throughout the Middle Ages and beyond. By adopting a long timescale, (...) this book sheds new light on the continuity between various cosmological representations and their impact on the ontology and epistemology of space. Readers may explore the work of a variety of authors including Aristotle, Epicurus, Henry of Ghent, John Duns Scotus, John Wyclif, Peter Auriol, Nicholas Bonet, Francisco Suárez, Francesco Patrizi, Giordano Bruno, Libert Froidmont, Marin Mersenne, Pierre Gassendi, Gottfried Wilhelm Leibniz and Samuel Clarke. We see how reflections on space, imagination and the cosmos were the product of a plurality of philosophical traditions that found themselves confronted with, and enriched by, various scientific and theological challenges which induced multiple conceptual adaptations and innovations. This volume is a useful resource for historians of philosophy, those with an interest in the history of science, and particularly those seeking to understand the historical background of the philosophy of space. (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)

Bernard Suits’ account of play as an autotelic activity has been greatly influential in the philosophy of sport. Suits borrows the notion of ‘autotelicity’ from Aristotle’s ethics, formulating diff...

No single text could be considered more important in the history of philosophy than Descartes' Meditations. This unique collection of background material to this magisterial philosophical text has been translated from the original French and Latin. The texts gathered here illustrate the kinds of principles, assumptions, and philosophical methods that were commonplace when Descartes was growing up. The selections are from: Francisco Sanches, Christopher Clavius, Pierre de la Ramee, Francisco Suárez, Pierre Charron, Eustachius a Sancto Paulo, Scipion Dupleix, (...) Marin Mersenne, Pierre Gassendi, Jean de Silhon, François de la Mothe le Vayer, Charles Sorel, and Jean-Baptiste Morin. (shrink)

Language and speech depend on a relatively well defined neural circuitry, located predominantly in the left hemisphere. In this article, I discuss the origin of the speech circuit in early humans, as an expansion of an auditory-vocal articulatory network that took place after the last common ancestor with the chimpanzee. I will attempt to converge this perspective with aspects of the Mirror System Hypothesis, particularly those related to the emergence of a meaningful grammar in human communication. Basically, the strengthening of (...) auditory-vocal connectivity via the arcuate fasciculus and related tracts generated an expansion of working memory capacity for vocalizations, that was key for learning complex utterances. This process was concomitant with the development of a robust interface with visual working memory, both in the dorsal and ventral streams of auditory and visual processing. This enabled the bidirectional translation of sequential codes into hierarchical visual representations, through the development of a multimodal interface between both systems. (shrink)

My purpose in this article is to propose an explicitly naturalized account of the experience of present nowness on the basis of two complementary sources: phenomenological analysis and cognitive neuroscience. What I mean by naturalization, and the role cognitive neuroscience plays will become clear as the paper unfolds, but the main intention is to use the consciousness of present time as a study case for the phenomenological framework presented by Depraz in this Special Issue.