En este trabajo presentaré una forma de evitar los problemas más recurrentes en cierta versión del pluralismo lógico, aquella que defiende que incluso considerando un lenguaje fijo existen múltiples sistemas lógicos legítimos. Para ello, será necesario considerar los puntos de partida del programa pluralista y explicitar los problemas que de ellos surgen, principalmente el Desafío de Quine y el Problema del Colapso. Luego, propondré una modificación respecto de lo que se entiende por consecuencia lógica, para poder considerar una familia de (...) sistemas lógicos, las lógicas mixtas, que abarcan tanto a las lógicas puras como a las impuras. Finalmente, mostraré que con una interpretación razonable del formalismo se puede eludir aquellos problemas a la vez que se respeta el espíritu del programa pluralista. (shrink)

In order to define some interesting consequence relations, certain generalizations have been proposed in a many-valued semantic setting that have been useful for defining what have been called pure, mixed and ordertheoretic consequence relations. But these generalizations are insufficient to capture some other interesting relations, like other intersective mixed relations or relations with a conjunctive interpretation for multiple conclusions. We propose a broader framework to define these cases, and many others, and to set a common background that allows for a (...) direct compared analysis. At the end of the work, we illustrate some of these comparisons. (shrink)

According to the Adoption Problem certain basic logical principles cannot be adopted. Drawing on the AP, Suki Finn presents an argument against logical pluralism: Modus Ponens and Universal Instantiation both govern a general structure shared by every logical rule. As such, analogues of these two rules must be present in every meta-logic for any logical system L, effectively imposing a restriction to logical pluralism at the meta-level through their presence constituting a “meta-logical monism”. We find a tension in the dual (...) role that the “unadoptable rules” must play in Finn’s “meta-logical monism” rendering it ineffective to restrict logical theories and systems. Consequently, we argue they cannot be both analogues of MP and UI and inferentially productive. We conclude with a series of suggestions regarding where a more satisfying and robust interpretation of the AP could lie. (shrink)

In this article, we provide three generators of propositional formulae for arbitrary languages, which uniformly sample three different formulae spaces. They take the same three parameters as input, namely, a desired depth, a set of atomics and a set of logical constants (with specified arities). The first generator returns formulae of exactly the given depth, using all or some of the propositional letters. The second does the same but samples up-to the given depth. The third generator outputs formulae with exactly (...) the desired depth and all the atomics in the set. To make the generators uniform (i.e. to make them return every formula in their space with the same probability), we will prove various cardinality results about those spaces. (shrink)

Anti-exceptionalism about logic states that logical theories have no special epistemological status. Such theories are continuous with scientific theories. Contemporary anti-exceptionalists include the semantic paradoxes as a part of the elements to accept a logical theory. Exploring the Buenos Aires Plan, the recent development of the metainferential hierarchy of ST\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$${\mathbf {ST}}$$\end{document}-logics shows that there are multiple options to deal with such paradoxes. There is a whole ST\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} (...) \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$${\mathbf {ST}}$$\end{document}-based hierarchy, of which LP\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$${\mathbf {LP}}$$\end{document} and ST\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$${\mathbf {ST}}$$\end{document} themselves are only the first steps. This means that the logics in this hierarchy are also options to analyze the inferential patterns allowed in a language that contains its own truth predicate. This paper explores these responses analyzing some reasons to go beyond the first steps. We show that LP\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$${\mathbf {LP}}$$\end{document}, ST\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$${\mathbf {ST}}$$\end{document} and the logics of the ST\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$${\mathbf {ST}}$$\end{document}-hierarchy offer different diagnoses for the same evidence: the inferences and metainferences the agents endorse in the presence of the truth-predicate. But even if the data are not enough to adopt one of these logics, there are other elements to evaluate the revision of classical logic. Which is the best explanation for the logical principles to deal with semantic paradoxes? How close should we be to classical logic? And mainly, how could a logic obey the validities it contains? From an anti-exceptionalist perspective, we argue that ST\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$${\mathbf {ST}}$$\end{document}-metainferential logics in general—and STTω\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$${\mathbf {STT}}_{\omega }$$\end{document} in particular—are the best available options to explain the inferential principles involved with the notion of truth. (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)

Postmodernism may seem a particularly inappropriate term when used in conjunction with a region that is usually thought of as having only recently, and then unevenly, acceded to modernity. Yet in the last several years the concept has risen to the top of the agenda of cultural and political debate in Latin America. This collection explores the Latin American engagement with postmodernism, less to present a regional variant of the concept than to situate it in a transnational framework. Recognizing that (...) postmodernism in Latin America can only inaccurately be thought of as having traveled from an advanced capitalist "center" to arrive at a still dependent neocolonial "periphery," the contributors share the assumption that postmodernism is itself about the dynamics of interaction between local and metropolitan cultures in a global system in which the center-periphery model has begun to break down. These essays examine the ways in which postmodernism not only designates the effects of this transnationalism in Latin America, but also registers the cultural and political impact on an increasingly simultaneous global culture of a Latin America struggling with its own set of postcolonial contingencies, particularly the crisis of its political left, the dominance of neoliberal economic models, and the new challenges and possibilities opened by democratization. With new essays on the dynamics of Brazilian culture, the relationship between postmodernism and Latin American feminism, postmodernism and imperialism, and the implications of postmodernist theory for social policy, as well as the text of the Declaration from the Lacandon Jungle of the Zapatatista National Liberation Army, this expanded edition of boundary 2 will interest not only Latin Americanists, but scholars in all disciplines concerned with theories of the postmodern. Contributors. Xavier Albó, José Joaquín Brunner, Fernando Calderón, Enrique Dussel, Néstor García Canclini, Martín Hopenhayn, Neil Larsen, the Latin American Subaltern Studies Group, Norbert Lechner, María Milagros López, Raquel Olea, Aníbal Quijano, Nelly Richard, Carlos Rincón, Silviano Santiago, Beatriz Sarlo, Roberto Schwarz, and Hernán Vidal. (shrink)

Confucio no sólo es el filósofo más conocido de la cultura China, sino que es, en cierto modo, el padre de su filosofía. Las Analectasde Confucio es el texto en el que la filosofía confuciana se expone con mayor claridad y concisión, la claridad de la narración y la concisión del lenguaje de máximas morales. Una perspectiva fecunda de análisis puede ser leerlas desde la Ética a Nicómaco y, en general, desde la perspectiva de los filósofos griegos fundadores de la (...) filosofía en nuestra cultura. (shrink)

En una época en la que el "pensamiento débil" del posmodernismo intenta desmantelar las bases del comportamiento ético, es muy necesaria una reflexión profunda sobre las ideas de libertad y responsabilidad. No es sólo la "mente" humana la que exige la excelencia moral, sino también la realidad del "ser" humano, en particular de los seres humanos que sufren. Este ensayo se ha escrito como un diálogo entre dos autores contemporáneos.

The use of sensors has had an enormous increment in the last years, becoming a valuable tool in many different areas. In this kind of scenario, the quality of data becomes an extremely important issue; however, not much attention has been paid to this specific topic, with only a few existing works that focus on it. In this paper, we present a proposal for managing data streams from sensors that are installed in patients’ homes in order to monitor their health. (...) It focuses on processing the sensors’ data streams, taking into account data quality. In order to achieve this, a data quality model for this kind of data streams and an architecture for the monitoring system are proposed. Moreover, our work introduces a mechanism for avoiding false alarms generated by data quality problems. (shrink)

The aim of this study was to analyze the psychometric properties of the Eating Disorder Inventory (EDI)-3 test to evaluate eating disorders in young Chilean population. Methods: The sample consisted of 1,091 Chilean adolescents and young people (i.e., 476 men and 615 women) between 15 and 28 years old, from the metropolitan region, and four regions from the coast and south-central zone of the country. The reliability and factorial structure of the instrument were analyzed, replicating the confirmatory factor analyses ofBrookings (...) et al. (2020), evaluating four additional models that included bifactor exploratory structural equation modeling (ESEM), bifactor, and two-bifactor. Results: A majority of the subscales presented alphas and omegas equal to or greater than 0.70, with the exception of asceticism (α = 0.543, ω = 0.552) and interpersonal alienation (α = 0.684, ω = 0.695) scales, which are consistent with the values of the Spanish and Mexican non-clinical samples. The best fit indices were obtained by the ESEM two-bifactor model, with twelve specific factors corresponding to the EDI-3 subscales and two general orthogonal factors (i.e., risk subscales and psychological subscales), consistently with the theoretical basis. (shrink)

Este artículo se propone reconstruir histórica y metodológicamente la disputatio scholastica y acercarse a la manera como era ejercitado este tipo de juego dialéctico en los colegios jesuitas de la América Hispánica. Examinando fuentes manuscritas e impresas, se enumeran y discuten las reglas que los participantes de los certámenes filosóficos de la escolástica barroca obedecían. La estructura lógica y dialéctica de la disputatio es examinada a la luz del método de discusión abstraído y sistematizado por Aristóteles en los Tópicos. Se (...) destaca el lugar privilegiado de la capacidad de distinguir sentidos como instrumento de la dialéctica en la disputatio scholastica. (shrink)

Según la doctrina subjetiva, el significado y el contenido de las disposiciones jurídicas depende de la intención legislativa que las creó. Este método es discutible por varias razones, entre ellas la dificultad de identificar las intenciones legislativas que tienen relevancia para la interpretación. Un aspecto de la dificultad es que en una disposición pueden confluir muchas intenciones diferentes. El objeto del trabajo es catalogar y discutir una serie de intenciones legislativas potenciales cuya respectiva importancia ha de determinar la doctrina subjetiva. (...) Esta diversidad de intenciones se debe tanto a su procedencia como a su contenido y alcance. El trabajo examina primero de quién pueden ser las intenciones legislativas y a continuación cuáles pueden ser. (shrink)

Numerous social and environmental issues are under increasing time constraints, and society is placing greater demands on organizations that foster greater social inclusion, well-being, and human flourishing. In this regard, social innovation research has gained relevance as it provides a rich context to examine how to generate and prioritize dignity-based organizing more effectively. This research aims to examine how the concepts of dignity and humanistic management can shape social innovation processes that generate better results for organizations and society. Building on (...) humanistic management and social innovation literature, a qualitative case study explores how the notions of dignity and humanistic management practices are present at every stage of the social innovation process (origin, mobilization, execution, and integration). This paper is one of the few studies exploring the relationship between humanistic management principles and social innovation processes, filling a significant gap in the literature with important praxeological implications. (shrink)

El presente artículo tiene como objetivo determinar el fundamento teológico del concepto de soberanía propuesto por el jurista alemán Carl Schmitt. Según nuestra hipótesis, tal fundamento teológico se encuentra en la filosofía del pensador danés Søren Kierkegaard, quien, en diferentes obras, desarrolló los importantes conceptos de excepción, decisión y suspensión teleológica de la ética en relación a la experiencia religiosa de la repetición. Como veremos, tales conceptos forman parte del fundamento teológico de la famosa definición schmittiana de la soberanía: “soberano (...) es quien decide sobre el estado de excepción”, la cual define el decisionismo del jurista alemán. Así, por medio del concepto de decisión, extraído de la obra kierkegaardiana e introducido en la doctrina de la soberanía, Schmitt logra tres objetivos. Por un lado, no solo inicia la crítica al parlamentarismo liberal y al Estado burgués de Derecho, sino que revela el fundamento teológico-existencial de la unidad política del Estado moderno. En segundo lugar, en el marco jurídico-político, actualiza la teología fideísta desarrollada por Kierkegaard en su obra. Finalmente, en el marco teológico-metafísico, introduce el papel de la decisión como actualizador del rol público de la trascendencia en la modernidad secularizada frente a la reserva escatológica de la teología. Para lograr nuestro objetivo, utilizaremos el método de la analogía conceptual teológico-política creado y aplicado por el mismo Carl Schmitt a la historia de la soberanía europea. (shrink)

En este nuevo contexto social, cultural, político y económico, sin lugar a dudas la educación ha logrado avances en el tema de la reforma educacional y en específico en los cambios de la educación especial. Sin embargo, pese a ello se vuelve trascendental a estas alturas un cambio a nivel paradigmático, respecto a como el sistema educativo concibe el tema de la discapacidad y en específico de la discapacidad auditiva. En especial cuando vemos en un contexto más global que en (...) países como: Cuba, Brasil, Argentina, etc. la comunidad sorda es estudiada a partir de una visión socio–cultural, visión que sin lugar a dudas ha permitido grandes avances en educación y ha dejado en evidencia que en nuestro país se concibe el tema de la discapacidad auditiva como una cualidad ontológica ignorando la visión sociocultural que considera a la comunidad sorda como portadora de su propia lengua, cultura e inteligencias, lo cual sin lugar a dudas, es trascendental en el proceso de integración y de enseñanza y aprendizaje. (shrink)

La noción de sentido común en la obra de Hannah Arendt juega un papel fundamental a la hora de explicar cómo un hombre del tipo de Adolf Eichmann podía mantener una auténtica incapacidad para pensar. No obstante, la manera como esta autora comprende aquella noción no es plenamente clara: el sentido común se halla aparentemente en un punto medio entre la actividad del pensamiento y el conocimiento científico, pues aun cuando el sentido de realidad proporcionado por el sentido común resulta (...) fundamental para ambos, éstos, dada la manera como se oponen entre sí, no se reducen a este mero sentido de realidad. Según creo, la tensión que genera este fenómeno puede ser evaluada con más claridad si se estudia la expresión ‘sentido común’ a partir de dos significados distintos –aunque complementarios– de acuerdo con su carácter pasivo y activo: el sentido común puede ser comprendido desde un punto de vista ‘sensible’ y un punto de vista ‘semántico’, respectivamente. (shrink)

This is an existential-phenomenological reading of Max Weber's "Class, Status, Party" that seeks a fuller understanding of meaning accomplishment in a stratified World. I appropriate stratification as a single meaning structure ontically defined by domination, intersubjectivity, and life-chances and ontologically determined by the power-to-be, There-being-with-others, and potentiality. I then discuss the significance of these structures in finite transcendence and describe ways they factually unfold in World achievement. I conclude with logotherapeutic reflections concerning meaning accomplishment in a stratified World and a (...) summary of key questions facing existential-phenomenology in light of the likelihood that There-being must embrace, indeed, live, the inherent equality of Being among Daseins to accomplish its authenticity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Decolonial Movidas: María Lugones’s Notion of Decolonial Aesthesis through CosmologiesDenise Meda CalderonIntroductionMaría Lugones advances a decolonial feminist methodology that allows one to see both dehumanizing social reductions of colonized peoples and the resistant relations operating within non-dominant socialities. By exploring this double “seeing,” I articulate the relationship between resistant socialities and Lugones’s notion of decolonial aesthesis. In her only published text on decolonial aesthesis, Lugones states: “Thinking about aesthesis, (...) I think about the body and permeability and all that permeability allows us to reconceive about the world we live in” (qtd. in Ortega 275). Lugones promotes a notion of decolonial aesthesis that engages a resistant permeable sensing and, I argue, is exposed by her distinct approach to cosmology.1My analysis begins with Lugones’s decolonial methodology to articulate a “seeing” of coloniality that I contend leads to her development of decolonial aesthesis. In particular, I show that Lugones sketches a view of decolonial aesthesis as a sensing that grounds resistance to dehumanizing social reductions and reveals a non-dominant social relationality expressed through concrete sensuous movements. I suggest that Lugones theorizes a communal interconnected dimension of resistance as decolonial aesthesis through cosmologic relation. To flesh out this point, I turn to two interlocutors central to Lugones’s intellectual genealogy: Gloria Anzaldúa and Rodolfo Kusch. I conclude by interpreting Lugones’s reading of Anzaldúa as a coalitional movida performing decolonial aesthesis.Moving to “Seeing” ColonialityLugones’s 2010 essay “Toward a Decolonial Feminism” constitutes a methodological intervention or movida in gender scholarship. Referring to the [End Page 22] expansive global power system, Lugones argues that gender is historically implicated as part of the colonial/modern project and sustains a dominative closure that marks alternative socialities as unintelligible. The colonial/modern system established norms that did not previously inform social communities. A gender binary was imposed onto colonized peoples, erasing the existing socialities that informed the everyday of those peoples. Lugones’s analysis of gender exposes the deep social fissures that emerge from coloniality, and the tremendous harm sustained by reading gender across all social arrangements and onto all knowledge systems.According to Lugones, the colonial/modern category of gender shows a pervasive subjugation to non-humanity of peoples whose sex status does not conform to binary logics. Regarding these reductive processes, Lugones writes: “This dehumanization and bestialization occurred precisely because these people were not understood by the colonizers and enslavers as social agents, and thus their sexual difference [was] not socializable. Thus, one does not find gender; animals do not have gender” (“Gender and Universality” 44). Since gender is assigned to humans, reading gender onto colonized peoples covers up dehumanization, even in calls for gender-based liberation.It is precisely through seeing coloniality that we can track the concealed social arrangements and see the worlds of sense that do not conform to the colonial/modern system. Lugones suggests this point in the following quote:To see the coloniality is to see both jaqi, the persona, the being that is in a world of being without dichotomies, and the beast, both real, both vying under different powers for survival. Thus to see the coloniality is to reveal the very degradation that gives us two renditions of life and a being rendered by them.(“Toward a Decolonial Feminism” 751–52)As Lugones’s words indicate, seeing coloniality involves a complex sensing that goes beyond seeing from dominant social norms and gender roles.Lugones’s methodological movida of seeing coloniality reveals the dichotomous categorization as part of the immense violence committed against peoples as colonized subjects with non-human status. This move urges a recognition of the superimposed categories that continue to harm and separate colonized peoples from their fluid relations with cosmologies (Lugones, “Toward a Decolonial Feminism” 746). Seeing the coloniality of gender elicits a transition to the possibilities of sensing from the positionalities deemed animal, in search of socialities that are not mediated by modern/colonial categories. Subsequently, seeing coloniality is a pivotal methodological movida to theorizing resistance in non-dominative socialities, or what Lugones calls decolonial aesthesis.2 [End Page 23]Decolonial AesthesisLugones’s decolonial aesthesis is not concerned... (shrink)

In the wake of corporate ethical scandals that have harmed millions of employees and investors, there has been an increase in the number of works written in the last decade, which aim to answer one apparently simple question: what causes unethical behavior, and what can we do, if anything, to prevent similar transgressions in the future? The extensive research around this question is the best proof of its real complexity as the challenge of disentangling the background of ethical behavior has (...) obvious academic and practical interest. This study aims to take a further step toward that goal. Much research has noted the impact of multiple aspects of organizational contexts on individuals’ ethical behavior. However, studies that analyze the impact of organizational learning capability (OLC) on employees’ ethical behavior are few and far between. This was the first aim of this study. The second centered on gaining a deeper understanding of the relationship between OLC and ethical behavior by analyzing the mediating role of employability and organizational commitment. We tested our hypotheses through a structural equation methodology applied to a sample of 641 workers from 166 Spanish consultancy firms and found a positive, direct relationship between OLC and employability, OLC and organizational commitment, employability and organizational commitment, and organizational commitment and ethical behavior. (shrink)

Joaquín M. Fuster is an eminent cognitive neuroscientist whose research over the last five decades has made fundamental contributions to our understanding of the neural structures underlying cognition and behaviour. This book provides his view on the eternal question of whether we have free will. Based on his seminal work on the functions of the prefrontal cortex in decision-making, planning, creativity, working memory, and language, Professor Fuster argues that the liberty or freedom to choose between alternatives is a function (...) of the cerebral cortex, under prefrontal control, in its reciprocal interaction with the environment. Freedom is therefore inseparable from that circular relationship. The Neuroscience of Freedom and Creativity is a fascinating inquiry into the cerebral foundation of our ability to choose between alternative actions and to freely lead creative plans to their goal. (shrink)

The knowledge extraction from data with noise or outliers is a complex problem in the data mining area. Normally, it is not easy to eliminate those problematic instances. To obtain information from this type of data, robust classifiers are the best option to use. One of them is the application of bagging scheme on weak single classifiers. The Credal C4.5 model is a new classification tree procedure based on the classical C4.5 algorithm and imprecise probabilities. It represents a type of (...) the so-calledcredal trees. It has been proven that CC4.5 is more robust to noise than C4.5 method and even than other previous credal tree models. In this paper, the performance of the CC4.5 model in bagging schemes on noisy domains is shown. An experimental study on data sets with added noise is carried out in order to compare results where bagging schemes are applied on credal trees and C4.5 procedure. As a benchmark point, the known Random Forest classification method is also used. It will be shown that the bagging ensemble using pruned credal trees outperforms the successful bagging C4.5 and RF when data sets with medium-to-high noise level are classified. (shrink)

This paper reports the policy-responses of different Philippine higher education institutions (HEIs) to the novel coronavirus, COVD-19 pandemic. It compares these responses with those made by HEIs in Indonesia, Thailand, and Vietnam. Publicly available data and news reports were used to gauge the general public’s reaction to these policies and how the Philippines’ responses fare with its Southeast Asian neighbors. The paper observes that despite the innovations made by Philippine HEIs in terms of alternative learning modes and technologies for delivering (...) education, there are still gaps and challenges in their responses. It recommends that policy-responses and learning innovations should be grounded on a deeper understanding of distance education and should be sensitive to the call of the times. (shrink)

Reseña del libro Cristià, M. (2021): AIDA. Una historia de solidaridad artística transnacional (1979-1985). Buenos Aires: Imago Mundi.

Las procesiones de difuntos fueron un tema muy favorecido en la literatura mexicana de los siglos XIX y XX. Estas historias tienen sus orígenes en los relatos sobre una aparición de ultratumba que dentro del imaginario sobrenatural de Galicia es conocida como la Santa Compaña, la cual llegó a tierras novohispanas en el siglo XVI, como parte de las crónicas de las órdenes religiosas. No obstante, con el paso del tiempo la creencia se secularizó y adquirió tintes cada vez más (...) literarios, hasta tomar la forma de un relato tradicional con añadidos y supresiones que obedecen a elementos locales y a la idiosincrasia de los pueblos entre los que circula. (shrink)