Tras décadas de olvido de la escuela rural, y de la que hoy se denomina >, en los últimos tiempos, distintas voces han logrado que ambas hayan ganado una mayor visibilidad. Pese a ello, queda un largo camino que recorrer, y con un único objetivo: proporcionar a las escuelas rurales la importancia que tienen. Como respuesta, surge el presente estudio, en el cual se muestra un instrumento de medición de la percepción del profesorado de los Colegios Rurales Agrupados (en adelante (...) CRA) de la Comunidad Autónoma de Castilla-La Mancha. Validado, y aplicable a otras Comunidades que cuenten con CRA. (shrink)

Since 2008 I have been closely following the conceptual/performance/video work of Daniel Peltz. Gently rendered through media installation, ethnographic, and performance strategies, Peltz’s work reverently and warmly engages the inner workings of social systems, leaving elegant rips and tears in any given socio/cultural quilt. He engages readymades (of social and media constructions) and uses what are identified as interruptionist/interventionist strategies to disrupt parts of an existing social system, thus allowing for something other to emerge. Like the stereoscope that requires two (...) identical images to create an illusion of a three-dimensional image, Peltz sometimes visualizes two separate elements to create an object or moment that requires space and depth to focus on its varied layers. They say your brain has to process and make meaningful sense out of all that visual information before it can accept the illusion. I say your brain has to do a similar thing when looking and seeing the divine, magical, and faithful (social) art making of Daniel Peltz. Daniel Peltz is Associate Professor of Film/Animation/Video at RISD. He divides his time between Rhode Island and Sweden and is currently at work on an exhibition at Botkyrka Konsthall, Stockholm opening February 2013 and a new project to be included in the IASKA: Spaced Biennial (Australia) in 2014. This interview took place on Skype and is part one of a two-part interview. Feliz Lucia Molina: Are you in Providence, RI? Daniel Peltz: I’m at my house in Providence. I’ve been back for six days teaching winter session at RISD and doing this workshop series—these investors’ drum circles with a group of wealth managers. a client of the firm, 2013, photo Shirin Adhami FLM: The wealth managers were all drumming together? DP: They were all drumming in response to the performance of their retirement portfolios. FLM: Is this part of the “Unrealized Gain/Loss” piece? DP: Yes, it’s part of a show I’m working on in Sweden. I can show you because it was just today. I’ll show you some of this. Lets see—share screen [click, click, click]. This is the room. I’ve been using the camera system that’s already installed in the conference rooms to record them. So the video is being recorded directly by the wealth management office’s tech staff. These are the people I worked with in the last workshop. This conference table is less wondrous. They’ve been learning to drum in response to their retirement portfolios. I started by bringing in my little bit of wealth for them to propose a management strategy, I came to the follow-up meeting with a counter proposal, which was this workshop. So they agreed to do this series of workshops instead of managing my wealth. FLM: Does everybody in the room manage your wealth? That’s kind of a lot of people. DP: That woman in the back there and Craig —they handle new client business. So when you come there with your wealth, they sit down with you and suggest to you how they would manage it. They’re very nice, responsible people. FLM: And where is this? DP: This is in Providence and the one I was showing you is in Waltham, where I was today. Then I’m going to Newport for the last one on Friday. So I will have done four of them. This is the group in Waltham that I just played with today. I played directly with the two groups in Providence and I’m working with an ethnomusicologist at Brown, Asha Tamarisa, who is facilitating the last two. She’s helped develop the workshop in terms of figuring out how to train a group to do this and thinking about the compositional challenges of working in response to retirement portfolio data. FLM: Screensharing helps me to figure out tiny bits here and there about the project. DP: I might even be able to play you a little of the audio I’ve also been working with a group of professional percussionists on what will become a quarterly public investors’ drum circle event. Their stuff was really nice, but I want you to hear what we sounded like in the workshops. They’ve all been recorded by the a/v system in the offices. We use a simple structure where the drummer investors interpret the sensation of gain or loss as embellishments to a base heartbeat rhythm. The group holds the heartbeat and, as each person experiences gain or loss, they embellish that rhythm. "Screensharing helps me to figure out tiny bits here and there about the project" FLM: Is the process all very spontaneous? DP: Its actually quite structured. We produce a custom stock ticker that shows the performance of their collective portfolios. In advance of the workshop each participant submits assets in their retirement portfolio. Then we make a stock ticker that shows the real-time performance of their assets so that they can respond to almost live data. FLM: Are they reading the stock ticker projected up on the screen in the room? Do people drum in correspondence to the visual live data of the performance of their assets? DP: Exactly. They’re looking at the stock ticker as opposed to each other, so it’s a slightly shifted drum circle. They’re looking at the ticker but they’re listening to each other—that’s what we’re practicing. For example, NVO—the price is 172.08 but it’s down -1.16 and as that moves across the screen, the person who’s retirement is invested in that asset starts to embellish when that arrow first appears, based on their experience of loss. They stop when it exits the screen and return to the heartbeat. You could have one ticker for each retirement portfolio, but the way the workshop is constructed is that we just isolate one asset from each person’s portfolio so that everyone in the group is represented in a single ticker. So they’re drumming and looking at the ticker, but they’re hearing each other experience gain and loss. We’ve removed direct visual engagement from the social structure of a drum circle but the oral engagement is still there. FLM: So they had their own sound interpretation of gain and loss? DP: Yeah and that part is quite spontaneous as you were saying. In some of the preparatory exercises we’ve been working to give the participants more strategies for interpreting the sensations of gain and loss. We’re trying to develop their capacity to embellish a heartbeat or base rhythm but I’m not invested in having a melodious result. I’m quite curious about what this kind of structure will result in without any desire for a particular result. FLM: For context, can you talk about the project you did a couple years ago in Bali, “Unrealized Gain/Loss” in relation to this current wealth management project? DP: The workshops I’ve been doing use a similar strategy to the other components in this project. It started in Indonesia on my sabbatical and I was really trying to understand where I was physically and where I was being on sabbatical—this kind of strange jubilee structure where every seventh year you’re supposed to renew your self. And it was around the time of the global financial crisis. I was on sabbatical for the global financial crisis. I remember watching my father, in particular, respond to the financial crisis by monitoring his retirement portfolio and trying to make sense of it. I realized on a visit to their home that he checked his retirement portfolio every single day and I was really struck by that because in some way our parents are mysteries to us as children, especially their moods. We know how important their moods are but we don’t know what governs them. And somehow it was like I’d figured it out, it’s the performance of the DOW! So I think there was something in that. Then I was in Indonesia and I had been drawn there by an interest in their highly ritualized Hindu culture, where so much of life is driven by a ceremonial calendar. I was interested in Bali as this predominantly Hindu pocket within a predominantly Islamic country and life there being organized by this ritual calendar functioning as a kind of resistance to the dominant global religion of free-market capitalism. So I started to explore that correlation between the ways in which this culture that I was living in was sort of “living for the afterlife” and this idea within certain segments of American society of “living for the afterwork life”. The idea that your wellbeing in the “afterwork life” is tied to forces that are unseen and largely beyond your control has strong similarities to many religious understandings of the universe. So I started to explore that and the crafts and materials that were around me were primarily Batik and percussion. Percussion is a huge part of daily life in Bali. These gamelan troupes were everywhere. And I also happened to be there for Nyepi, the day of silence, which is preceded by a very elaborate procession and construction of demonic statues. These were the things that were around me and I started studying Batik with one of the Batik artists there and also started a conversation with two master Batik artists, one who is American and her Indonesian husband. I developed these patterns that were based on symbols from the performance of my retirement portfolio and worked with the batik artists to produce two sarongs. d. peltz - 2012 In producing the designs, I treated the performance of my retirement portfolio since my arrival at RISD [7 years] as a significant interval and then I looked at the ways in which decisions are made within retirement portfolios as having an extension outwards from the individual assets that underlie the retirement portfolio, which are kind of like the base elements of the retirement world. Then there’s the allocation of your assets, which is a global way of understanding an individual according to typologies, which are often referred to in terms of risk—this notion of a ‘risk profile’. What type of ‘person’ you are is determined by your attitude towards risk, or potentiality, and I found that to be a really fascinating way of understanding the universe. I remember looking at the tabs in my retirement portfolio and finding this one for viewing ‘Unrealized Gain/Loss’ and that’s often how I work—is just going through the Cambridge Parking Code, for example, and finding this section of the code that was called ‘Crossing Non-Signalized Locations’ and just feeling “I can’t do any better than that,” you know? That’s what I was talking about in terms of ready-mades that exist in the social sphere. So I found that tab, actually, a long time ago, and I pulled it out of a journal when I was there [in Bali] working on these pieces and I wound up making these two sarongs and later on a series of porcelain vessels for holding one’s unrealized gains and losses. At the time, I knew that I wanted a performance to come out of them, but I wasn’t sure what it was. I was inspired very much by this sort of thing: Pulls out a TIAA-CREF brochure with a man in a suit seated at a table. This guy is probably an actor, and [the brochure] says “TIAA-Cref announces “Individual counseling sessions at the Rhode Island School of Design. Individual counseling sessions at no additional cost to you. You can discuss your personal financial situation with an experienced TIAA consultant on a confidential basis. We are available to help you discuss how to achieve your financial goals by investing in financial solutions such as mutual funds, brokerage, life insurance, and annuities...etc....What retirement benefits best fits your situation?” Often I encounter this and I think O.K., this is one way to prepare for the after-work life and it seems inadequate to me. But, I also find it really inspiring. I really like the visual language of it. I kind of want to be that man. I’d like to see if I could maybe buy his clothes. FLM: What it is about the man on the brochure that interests you? DP: He’s offering personalized objective advice and a detailed evaluation of everything you need to know and do. Who wouldn’t want that? But he’s also something of a contemporary priest or priestess, mediating between the unseen all-powerful universe of global capitalism and the common worker. So I started off developing Unrealized Gain/Loss directly from the charts that represent the performance of my retirement portfolio. Then I came home and I wanted to use those. I had this word in my journal “unrealized gain/loss vessel.” I had this notion of vessels that would contain unrealized gains and losses. That felt really important to me that they would have somewhere to go. I had been thinking a lot about altars and making offerings—that somehow this really fickle, massive, difficult-to-comprehend-universe of the financial world—that somehow it might be nice if you could making an offering to it. [In Bali] they made such beautiful elaborate offerings. So I studied offering making as well with one of the women there and she taught me some of the standard forms created by folding leaves and the significance of the floral arrangements. I started working in clay and then moved to porcelain and I made these unrealized gain/loss vessels. I made a few of them, they have holes on either side that you can’t get your fingers in. But something can go in there and something can go out of there. It’s a nice size for putting on an altar. Then I got this commission from Artists in Context who was interested in my doing something for this project “Artists Perspectives for the Nation” project. I proposed initiating these investors’ drum circles as a new public performance form. I’m interested in bringing together those two symbols—the symbol of the djembe and the drum circle. unrealized gain/loss vessel - d.peltz - 2012 FLM: I can imagine the public digital stock ticker performing like a soft fleeting stream of information, a kind of (meaningless) illusory comfort blanket. DP: In some way you have to understand its relevance outside of the obvious, right? Because the obvious is illogical. Nobody is actually using that data to day trade, for example. People aren’t sitting there with their computers watching the market data in Times Square or setting up an outdoor office and being like “OK it’s up 3 points or it’s up 1.56, trade! Ok now buy, Ok now sell!” That would be a kind of a nice performance, actually. But actual day traders would want more up to date data than that. To understand what that data is doing is really important. And that’s something I’ve realized—that I’m interested in a particular kind of data visualization, which is not about what data can tell people, but what data can tell people who are visualizing it. For example, in the Cambridge Project “Crossing Non-Signalized Locations” I was interested in the 10,000 excuses archive of data recording five years worth of excuses for why people thought they shouldn’t have received their parking ticket. I was not interested in making that excuse wall so that the public could see and understand this data. Inevitably the data will be seen by others but I was really interested in what the action of visualizing the data told those who were visualizing it. The parking attendants themselves were writing those excuses on the wall—I was interested in what that kind action of writing the excuses on the wall told them about the data. Similarly, I’m interested in designing a way to allow people to pass this data from the unseen universe of the market, through their own bodies, which happens through the merging of the drum and the stock ticker. I’m interested in those two also as symbols; the drum as this symbol of the earth, the body and a pagan counterculture, and the stock ticker referring to the ethereal world of global markets—bringing those two together and making them dependent. I’m often drawn to conceptual propositions that I become invested in testing in a sincere way—at first they often they sound humorous to others, but I have to remember that there is humor in them. I don’t sit around and laugh about these things. I stop finding them funny at all. I’m interested in the proposition that we could know something about the after-work life by drumming in response to our retirement portfolio. So then I become really interested in how to craft that into a viable performance form for myself and others. FLM: The aspect of using sound in “Unrealized Gain/Loss” as a way of embodying the information to the asset holder is really intriguing—using sound as a means of embodying the asset data. Was sound a medium that made sense to use immediately or were you considering other means of attempting to embody it? DP: Well I do use other mediums within the project like textile, ceramic, and batik patterns. I was first drawn to the history of Batik patterns as a socio-economic stratification system and the vessels as a way of embodying or manifesting this data of unrealized gain and loss. My first approach was to work with meditation actually—a meditation workshop with my colleagues. I was going to offer this “Unrealized Gain/Loss” workshop where you would explore the sensations of gain and loss by adapting the way yogi-nidra brings you into contact with your physical surroundings and stretches your perception. FLM: At Naropa University there are/were business & compassion workshops—a sort of mash-up of business and compassion and how compassion could be incorporated into a business model. This process and engagement of “embodying data” also has to do with “Participatory Democracy and the Future of Karaoke” you created at the DNC in Denver in 2008. DP: That kind of appropriation and instrumentalization of spiritual practice could be disturbing and thus compelling as a strategy. For various reasons, I’ve come to be drawn to both the form of a quarterly public performance and the established performance form of a drum circle. Its something I’ve seen myself do before, that is to mess up a really good functional social system like a drum circle or karaoke. I remember I was developing language for the karaoke project and started calling it “Participatory Democracy and the Future of Karaoke” and one of my assistants on the project, who’s an incredible artist, said, “but don’t you think the future of karaoke is guitar hero?” and I realized that maybe he thought I was trying to improve the form. I’m just trying to get people to have this shifted embodied experience, I need to craft the performance context so that they can do that. In the case of the karaoke project, for example, what did I need in order to be able to do this [a person to stand up in front of a bar and deliver a karaoke speech]? I realized that the body is very vulnerable so I built a podium so that the speaker can feel secure enough to do this, otherwise you couldn’t get to this state achieved by passing these speeches through the body. Then I was, like, well you need to be able to practice the lyrics because you don’t know all the “songs” by heart, which became an insert to the massive track books carried by most karaoke VJs. And then sometimes the crowd in the bar isn’t there with me, so I needed to extract the voice of the crowd cheering from the original venue and I needed the local audience to cheer if they wanted to. I’m interested in both where the form succeeds and fails. In particular, one of the most interesting things is this auditory gap between the space where you are, the reduced scale of applause in your own little bar, and this grand scale of applause at the convention center where the speech was originally delivered. FLM: How did the concept of “Participatory Democracy Karaoke” come about and why did you use karaoke as a means of engaging what was happening at the DNC in 2008? DP: I was looking at a lot of different readymade media infrastructures within the city at the time. I was interested in the emergency broadcast systems and I developed a proposal to repurpose that system and karaoke became an important symbol because it was this populist form that was already engaged in exploring the sensation of celebrity but also visualizing the gap between ourselves and those with more power and influence. So it had this readymade capacity to play with power and celebrity and I felt like the Obama presidential campaign, the first one in particular, had some very curious overlaps with this culture of celebrity. Obama of course rose to power partly based on his oratory abilities and I was interested in how karaoke as a vehicle was so adept at offering people all that was left of authentic expression in a political speech. Managing a politician and constructing their identity is such a developed practice that it becomes, kind of automatically, a metaphor for the way that our own identities are constructed. Of course the Obama campaign was very hip and savvy and deploying this notion of grassroots. It was really pioneering in its use of social media and this deployment of notions of populism. I was interested at that time in the capacity of karaoke to track speech patterns, precise tempos of anyone’s delivery, and that to me was a way of thinking about what might be left of the authentic self. I was interested in karaoke’s capacity to extract that authentic component and offer it to others. So not just to stand up and be them, but to [literally] pass their speech patterns through your own body. A long time ago, it started to strike me as odd that one would make media at all. It struck me as a kind of un-contemporary way of going about making art in an age of media overflow. That logic extended into my thinking on delivery devices and installation as well. Why would one buy a screen or even set one up when there are so many out there? And the way in which these media displays function in karaoke bars and bars in general is very interesting to me. I’m drawn to this passive consumption of media where your primary social interaction is with the bartender or a few other individuals but these screens are around you and your attention is shifting back and forth between these spaces. So much political rhetoric is spoken to a half-listening audience. I was interested in what was happening in the slippage and that karaoke was a kind of slippage amplifier. So if you put people in a bar and they are delivering a Kucinich speech and Kucinich comes up on a screen then your getting a sound bite of Kucinich and an image of Kucinich and your friend is talking to you— FLM: A kind of magic takes place in that incongruency between sound and image and the karaoke participant who’s relaying the speech-text at the same time. DP: Exactly and there’s some kind of truth in that experience of reality. FLM: Yeah, there’s something uncanny about seeing the body close-up like that as though it can’t lie to you in that moment or context. It’s a weird moment of luminous clarity. The work you’ve done and all of what you’re saying about karaoke is so very interesting to me. Growing up, my dad and uncles sang karaoke a lot (and still do) and being first-generation Filipino American is a different cultural subtext entirely. I’m also seeing it from the position of witnessing family members who are carriers of these stories and songs. And seeing them cherish these Tony Bennett, Frank Sinatra, Elvis Presley songs so much, I also see how their bodies are literal vessels of popular music that signifies something greater—it signifies their cultural and socioeconomic place in the world. The way that they cherish these American 1950s and 1960s pop songs is similar to having a certain kind of reverence for their spiritual faith or Catholicism. It’s a similar kind of care, focus, and attention exerted in karaoke and Catholicism—that these two structures and systems give something to focus on. Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana — d. peltz — 2008 DP: Sure there something about the relationship we have to our candidate or the way we go about choosing a candidate, which is very similar to a deity or idol. I learned a lot about karaoke culture through this project. I’d never done karaoke. I’d never been interested in it as a form and then I travelled to Japan as part of the project when I made “Setsuko, Seiji and Hitoshi in Obama, Japan as Barack Obama in Indiana” and it was quite fascinating because my image of karaoke had always been this very public forum in a karaoke bar and then I discovered there’s this whole other world of karaoke where people even go on their own, they go and rent a room or cubicle and sing, or they go on a date—just the two of them go and sit in a room and do karaoke together. FLM: I’m interested in issues that take place within or as a result of specific karaoke culture(s). In the Philippines within the last several years there’s been occurring the “My Way Killings” phenomenon. Apparently baklas or gay men are employed by karaoke establishments to help “smooth over conflicts over karaoke singing”—these social forms of conduct, or lack thereof that arise out of the infrastructures of this social sport. In this one rural part of the Philippines there’s a village karaoke machine that the whole village shares—the Aeta indigenous people have an appointed “keeper” of the karaoke machine. I also see karaoke as a proxy to the confessional box in Catholicism where one goes to pour out their sins (minus the penance and redemption). The karaoke machine enables one to literally sing out whatever’s going on internally, but through highly saturated popular song lyrics. While karaoke is a public and social sport, it can also be a private one. Karaoke is a means of communion with each other. DP: Right, this preference for this kind of mediated communication. In Japan I was trying to organize people to work on this project and I was talking about throwing a party and they were like, well, we have to rent a karaoke machine because what else are we going to do? And I think its kind of serving that function of surrogacy—emotional surrogacy. FLM: And karaoke tools can be read as ritual tools—the magic mic that holds everything. There’s got to be some overlap at some point—between religious ceremony and devotion to the karaoke machine. DP: The way I designed the piece was so that it could slip right on top of the ready-made karaoke infrastructure. There was a flat-packed podium and it was made of a single sheet of plywood with no fasteners that slotted into itself. Those were sent out to a network of karaoke bars that I invited to become “karaoke convention centers.” The local VJs downloaded our custom-made, speech-extracted tracks that were designed to play on their existing equipment. In this sense the piece is a permanent installation. If you go to Denver today, some of the VJs still have the tracks in their library of offerings, the Ramones and Romney. It was this notion of re-purposing readymade infrastructure to create a distributable populist form. Obama was coming and the convention was in the Pepsi Center and 30,000 people were coming including 10,000 journalists. The impetus behind the larger art project that commissioned international artists to make works in Denver, was that local people weren’t going to have much access to this convention. It was like an invasion, the city was being descended upon, but if you lived a block away from the site, you had the same access as people in Zimbabwe&mash;30 second media bits excerpted from the speeches. So it seemed to me that the fundamental gesture was how do I take that signal, which was travelling out of the convention center, and create a local interruption? FLM: Is that what you mean by ‘intervention’? The term is frequently used to help describe your work. DP: It depends on the day. Around that karaoke project I had a conversation with Krzysztof Wodiczko and he was proposing that maybe rather than intervention, we should consider the word interruption. Because intervention is kind of an overused term in the field of art and it has militaristic and therapeutic associations outside of the art context. Fundamentally, the idea of intervening speaks to the readymade social world as your primary material. So it’s basically suggesting a kind of subtractive process, which gets back to this question: what is the role of the contemporary media artist in a world that’s so saturated with media? You can’t work additively in a saturated field. If you want to make a visible mark you have to work subtractively. That’s what intervention is about to me, just another way of saying “to work subtractively.” FLM: So the interventions or interruptions aren’t necessarily adding or subtracting, but are they putting orange cones there? What are they doing exactly? DP: I think you’re right about that, they’re not really subtracting. They’re adding to the scope of possibility. I’ve been thinking (with this exhibition I’m mounting next month) about the work as explorations and expansions of social possibility. Maybe it’s more insertion. I started calling the pieces ‘insertions’ that I was making in Rejmyre—a small town in Sweden where I’ve been working for six years now. My favorite site to install there is the tourist bureau. I started calling the video pieces that I made for the tourist bureau, video insertions. This idea that you’re inserting something into the readymade media infrastructure of the world resonates with me. Insertion leverages a context, creating a possibility that the inserted object might be naturalized in the process — that someone can encounter my video in Rejmyre as tourist information. And then all of a sudden tourist information can include some American guy prostrating through town and it can include really bad relationship advice. Maybe insertion is a better word. tourist information – d. peltz 2009-present  . (shrink)

En el presente trabajo se ofrece, hasta donde nos consta, la única traducción al español del capítulo “Sobre el ajedrez” de la obra enciclopédica _De naturis rerum_ escrita hacia el año 1190 por el filósofo inglés Alejandro Neckam (1157-1217). El capítulo mencionado, que sigue a otro sobre los jugadores de dados, es relevante no solamente para comprender la continuidad de una actitud anti-lúdica que hunde sus raíces en el pensamiento de los primeros cristianos sino para advertir la recepción del ajedrez (...) musulmán en la Inglaterra medieval cristiana tanto en sus representaciones simbólicas como en las reglas del juego. (shrink)

Book MARY, André. Os antropólogos e a religião. Trad. Lúcia Mathilde Endlich Orth. São Paulo: Ideias e Letras, 2014. ISBN 978-85-6589-369-5.

Gilberto Freyre, autor de Casa-Grande & Senzala, pensador polêmico, mas singular no que se propõe - tradução da realidade brasileira à luz da miscigenação. Pode se dizer que nos textos desse recifense existem mais do que contradições, são, no sentido de determinados conceitos, debates dialéticos. Desse modo, o artigo aqui proposto intenta pensar o termo democracia racial por meio de um procedimento filosófico, a saber, dialética conceitual. Assim, não se pretende fazer uma defesa do autor em questão, mas para além (...) disso, observar o debate e contribuir para novos entendimentos em torno desse polissêmico conceito. Sendo assim, o texto encontra-se dividido em dois momentos, no primeiro momento, busca-se um diálogo com os estudiosos do pensamento de Gilberto Freyre para localização e compreensão histórica de seu expediente teórico e, no segundo momento, atina-se para uma observação filosófica do conceito de dialética. Palavras-chave: Mestiçagem. Democracia. Dialética. (shrink)

This book arises from a three-year study of Preventive Justice directed by Professor Andrew Ashworth and Professor Lucia Zedner at the University of Oxford. The study seeks to develop an account of the principles and values that should guide and limit the state's use of preventive techniques that involve coercion against the individual. States today are increasingly using criminal law or criminal law-like tools to try to prevent or reduce the risk of anticipated future harm. Such measures include criminalizing conduct (...) at an early stage in order to allow authorities to intervene; incapacitating suspected future wrongdoers; and imposing extended sentences or indefinate on past wrongdoers on the basis of their predicted future conduct - all in the name of public protection and security. The chief justification for the state's use of coercion is protecting the public from harm. Although the rationales and justifications of state punishment have been explored extensively, the scope, limits and principles of preventive justice have attracted little doctrinal or conceptual analysis. This book re-assesses the foundations for the range of coercive measures that states now take in the name of prevention and public protection, focussing particularly on coercive measures involving deprivation of liberty. It examines whether these measures are justified, whether they distort the proper boundaries between criminal and civil law, or whether they signal a larger change in the architecture of security. In so doing, it sets out to establish a framework for what we call 'Preventive Justice'. (shrink)

_The Metaphysics of Perfect Beings_ addresses the problems an Anselmian perfect being faces in contexts involving unlimited options. Recent advances in the theory of vagueness, the metaphysics of multiverses and hyperspace, the theory of dynamic or sequential choice, the logic of moral and rational dilemmas, and metaethical theory provide the resources to formulate the new challenges and the Anselmian responses with an unusual degree of precision. Almeida shows that the challenges arising in the unusual contexts involving unlimited options sometimes (...) produce metaphysical surprise. (shrink)

The aim of the present research was to assess elite student-athletes’ perception of the dual career during the lockdown caused by the coronavirus disease 2019 pandemic, compared with a group of elite student-athletes who could develop their dual career under normal conditions. A total of 150 elite athletes who were also undergraduate or postgraduate students self-completed the “Perceptions of dual career student-athletes ” questionnaire. From them, 78 did it during the mandatory lockdown period due to the state of emergency caused (...) by COVID-19 and 72 completed it in the previous year to Rio 2016 Olympic Games. The COVID-19 group was found to spend a significantly higher number of hours per week studying, while no significant differences were observed between groups in any training time variable. Student-athletes of the COVID-19 group showed better perception of whether their sport career could help them cope with their academic career and better general perception of remote learning and the use of tasks and videoconferencing as learning support tools. A lower percentage of athletes of the COVID-19 group than of the control group wished to continue with their sport career once they finished their studies. To conclude, student-athletes of the COVID-19 group show adaptations with regard to the organization of their studies and the importance they give to them and to the services provided by dual-career programs, compared with student-athletes from an ordinary pre-Olympic year. In general, student-athletes’ perception of the dual career is very positive. (shrink)

Since 1992, institutions accredited by The Joint Commission have been required to have a process in place that allows staff members, patients, and families to address ethical issues or issues prone to conflict. While the commission's expectations clearly have made ethics committees more common, simply having a committee in no way demonstrates its effectiveness in terms of the availability of the service to key constituents, the quality of the processes used, or the outcomes achieved. Beyond meeting baseline accreditation standards, effective (...) ethics resources are requisite for quality care for another reason. The provision of care to the sick is a practice with profound moral dimensions. Clinicians need what Margaret Urban Walker has called “moral spaces,” reflective spaces within institutions in which to explore and communicate values and ethical obligations as they undergird goals of care. Walker proposed that ethicists needed to be concerned with the design and maintenance of these moral spaces. Clearly, that concern needs to extend beyond ethicists to institutional leaders. This essay uses Walker's idea of moral space to describe individuals and groups who are actual and potential ethics resources in health care institutions. We focus on four requisite characteristics of effective resources and the challenges to achieving them, and we identify strategies to build them. In our view, such moral spaces are particularly important for nurses and their colleagues on interprofessional teams and need to be expanded and strengthened in most settings. (shrink)

Résumé : L’article propose une démarche méthodologique permettant d’identifier la réflexion professionnelle chez des stagiaires en formation à l’enseignement. En effet, la capacité d’analyser sa pratique de façon réflexive est une composante d’une compétence professionnelle à développer selon le Ministère de l’Éducation du Québec. Une certaine forme de réflexion chez les étudiants est donc à acquérir et, du point de vue des tuteurs de stage, à faire acquérir. Quels sont les critères implicites que les enseignants associés des écoles ou les (...) superviseurs universitaires identifient afin d’évaluer la présence ainsi que la qualité de la compétence réflexive chez le stagiaire ? L’étude identifie une dizaine de points de repère afin de favoriser chez les tuteurs de stage l’évaluation de la compétence réflexive de leurs stagiaires. L’article valide ces critères à partir d’un extrait de discours de stagiaire, puis confronte cet extrait à une autre approche, consistant à détecter des reconceptualisations chez les stagiaires pour dépister de la réflexion. Une certaine cohérence s’établit avec les critères empiriques d’identification de la réflexion identifiés par induction chez les tuteurs de stage. S’ensuit une discussion sur ces critères en lien avec les approches méthodologiques adoptées. La recherche utilise un devis qualitatif et s’appuie sur des entretiens semi-structurés. Abstract : This article proposes a methodological process aimed at identifying professional reflection among student teachers in teacher education. The ability to analyze one’s practice reflectively is a component of one of the professional competencies that must be developed according to Quebec’s Ministry of Education. A certain form of reflection must therefore be acquired by students, and, from the standpoint of practicum supervisors, it must be developed in students. What are the implicit criteria that mentor teachers in schools or university-based supervisors identify in order to assess the presence and quality of student teachers' reflective competence? This study identifies a dozen guideposts to assist supervisors in this direction. The article first validates these criteria based on an excerpt of a student teachers’ statements, then submits the same excerpt to another approach aimed at detecting the student teacher’s reconceptualizations with a view to pinpointing reflection. A certain degree of coherence is established with the empirical criteria for identifying reflection as identified inductively by practicum supervisors. A discussion follows on these same criteria in line with the methodological approaches adopted. This research is based on a qualitative study. (shrink)

The American Journal of Bioethics, Volume 11, Issue 8, Page 1, August 2011.

Political concepts are fundamentally polemical. Their supposed neutrality is solely a vain intellectual supposition. This paper pay attention to the XIX century's Politics through three political concepts: the representation, medieval notion wich the liberal genius transformed to fight the Ancien Régime; the association, socialist and traditionalist alternative to the revolutionary individualism; and finally the participation, based on the originary political community return's myth.

ABSTRACT This text is theoretical and seeks to achieve a double objective. First, it aims to contribute to a more solid understanding of the theory of value derived from the thought of the Genevan linguist Ferdinand de Saussure. To do so, it presents the three different types of value that, according to Bouquet (2004), are included in the Saussurean theory: the value relative to the internal element, the value relative to the systemic element, and, finally, the value relative to the (...) discursive element. Second, this text tries to make the theory of social evaluation in the word known, at least in part, as proposed by the Russian thinker Valentin N. Vološinov. For this purpose, based on Gomes (2023), it seeks to present three key points to understanding this theory: the distinction between meaning and social evaluation, the relationship between social evaluation and the creative character of language, and, finally, the relationship between social evaluation and historical becoming. (shrink)

Wesley Newcomb Hohfeld's account of legal rights is now 100 years old. It has been much discussed, and remains very influential with philosophers and lawyers alike. Yet it is still sometimes misunderstood in crucial respects. This article offers a rigorous exposition of Hohfeld's framework; discusses its claims to comprehensiveness and fundamentality, reviewing recent work on the topic; and highlights the argumentative uses of Hohfeld's most important distinction.

Al final de la Crítica de la facultad de juzgar, Kant aborda el problema de las pruebas de la existencia de Dios y revisa en detalle el argumento que a él le parece el único capaz de provocar verdadero asentimiento: la prueba moral. Se revisa el camino que sigue Kant para llegar, a través de su anál..

É possível estabelecer uma relação didática entre filosofia e cinema para ilustrar, esclarecer ou levantar instigantes discussões em torno dos conceitos e das idéias filosóficas. Ainda que a linguagem cinematográfica seja diferente os gêneros do cinema podem apresentar distintas formas da realidade humana de modo crítico e conciso, como por exemplo no cinema catástrofe, onde são evidenciadas as relações entre homem e natureza como mostra o filme “The Day After Tomorrow” de Roland Emmerich exposto neste artigo com algumas idéias do (...) filósofo inglês Francis Bacon. (shrink)

Entender la dimensión moral de la dietética en la antigüedad exige investigar los avances de las investigaciones médicas gracias a las cuales se establecen las bases de la psicología moral. Por esta razón en este artículo se exploran algunos pasajes de Sobre las opiniones de Hipócrates y Platón, escrito por el médico alejandrino Galeno de Pérgamo (I-II d. C). Según los hallazgos de su investigación sobre la naturaleza del alma, aun cuando ésta tuviera una sustancia propia, ajena a las mezclas (...) humorales del cuerpo, es preciso admitir que sus facultades, incluida la racional, pueden ser ayudadas o impedidas por el equilibrio o por el desequilibrio de los humores del cuerpo. Esta es la tesis que defenderá en su escrito de madurez titulado Las facultades del alma siguen los temperamentos del cuerpo. Para Galeno, como antes para Platón y Aristóteles, la forma de vida, que incluye la nutrición, incide en la salud y en la enfermedad del alma. En la tradición que le antecede ya se aceptaba la dimensión moral de la dietética, pero nuestra tesis es que en las investigaciones de Galeno sobre la fisiología de las facultades del cuerpo, encontramos el fundamento empírico para la afirmación según la cual el cuidado del cuerpo influye en la salud del alma. (shrink)

Taking a post-structuralist view of constructionism (a view that privileges symbolic representation and language), this paper uses Piaget''s descriptions of how knowledge is acquired to speculate on the existence of a system of delays underlying thinking.

Can there be a non-reductivist, source-based explanation of the use of normative language in statements describing the law and legal situations? This problem was formulated by Joseph Raz, who also claimed to have solved it. According to his well-known doctrine of ‘detached’ statements, normative legal statements can be informatively made by speakers who merely adopt, without necessarily sharing, the point of view of someone who accepts that legal norms are justified and ought to be followed. In this paper I defend (...) two theses. I argue, first, that the notion of a detached statement cannot be made to work, and that Raz’s problem is thus not thereby solved. But the problem itself, I also suggest, is a false one. (shrink)

O objetivo deste artigo é apresentar uma resposta a dois problemas presentes na teoria cartesiana da liberdade tal como é desenvolvida nos Princípios da Filosofia. O primeiro refere-se às diferenças entre a versão latina e a tradução francesa dos Princípios no que concerne à definição de liberdade. O segundo refere-se à controvérsia, existente no contexto da literatura secundária, sobre se a teoria cartesiana da liberdade desenvolvida nos Princípios seria distinta daquela desenvolvida nas Meditações Metafísicas. Como pano de fundo desta discussão (...) encontra-se um problema clássico, a saber, o problema da relação entre o que parecem ser duas concepções de liberdade: liberdade como livre-arbítrio e liberdade como espontaneidade. Tendo em vista esse problema, é nossa pretensão também responder, sobre como, precisamente, deveríamos compreender a relação entre essas duas concepções na teoria da liberdade desenvolvida por Descartes nos Princípios. (shrink)

Este artigo examina quais teorias da causalidade explicam a ocorrência de sentimentos em animais e homens, segundo Descartes. Esse exame é feito à luz do debate entre as teorias ocasionalista e interacionista, bem como da posição de Descartes nesse debate. Nesse contexto, são discutidas algumas objeções a essas teorias, buscando determinar em quais pontos Descartes poderia ser considerado um adepto de uma ou da outra. A hipótese defendida é a de que ele adota certos aspectos da teoria interacionista para explicar (...) a causalidade entre corpos, que caracteriza a ocorrência de sentimentos em animais. Por outro lado, ressalta-se o uso de duas linguagens em sua explicação da causalidade entre corpos humanos e mentes, que caracteriza os sentimentos humanos. Esse uso é explicado pelo fato de que, no caso desses sentimentos, ele adota uma posição que concilia ocasionalismo e interacionismo. (shrink)

Crescimento econômico, combate à pobreza, a eficiência produtiva e a livre concorrência são afetados pela corrução. A globalização estreitou relações entre países e possibilitou um salto no fluxo de negócios em todo o mundo. Este movimento trouxe para empresas que operam em mercados globais, a necessidade de produzir com mais eficiência e agilidade. Por outro lado, criou ambiente mais favorável à corrupção. Governos e empresas se engajam no compromisso de tentar diminuí-la. Convenções internacionais promovem ações práticas para atingir este propósito. (...) A criação e aplicação de leis anticorrupção e o fomento às práticas de Compliance tem sido uma alternativa viável. (shrink)

Entre os meses de outubro e novembro de 1983, Michel Foucault proferiu, em Berkeley, seisconferências, problematizando as relações do sujeito com a verdade, a partir do conceito grego deparresía (παρρησία). Essas conferências, como tantas outras que compunham uma série de cursosoferecidos pelo filósofo francês, foram gravadas, posteriormente, transcritas e organizadas em livrosque colaboram de modo singular com pesquisas até os dias atuais. As conferências foram editadas pelaUniversidade de Berkeley em 1985 e foram traduzidas no Brasil, ganhando formato de artigos, no (...) anode 2013, organizadas e publicadas pela equipe da Revista Prometeus, sob a coordenação do prof. Dr.Aldo Dinucci da Universidade Federal de Sergipe (UFS). (shrink)

Este artículo toma como punto de partida la colaboración artística entre Rainer Maria Rilke y Balthazar Klossowski –Balthus– que vio la luz en la publicación del libro titulado Mitsou. Historia de un gato, con ilustraciones del joven pintor y prólogo del poeta. Este caso de estudio sirve como hilo conductor de un análisis de mayor calado sobre el problema de lo “Abierto”, concepto de orden nouménico que Rilke acuña en su intercambio creativo con Balthus, y que fue motivo concreto de (...) reflexión por parte de Martin Heidegger. El presente trabajo pretende abordar las implicaciones de afinidad y enfrentamiento entre Rilke y Heidegger, y profundizar en la figura del gato como imagen metafórica de la animalidad presente en el develamiento que acontece en el Da-sein. Para ello será necesario considerar aportaciones teóricas clave de Ortega y Gasset y Schopenhauer, así como posturas críticas de Giorgio Agamben y Jacques Derrida, específicamente relevantes en este debate, que se inclinan hacia una ontología animal de la alétheia. (shrink)

Este artículo toma como punto de partida la colaboración artística entre Rainer Maria Rilke y Balthazar Klossowski –Balthus– que vio la luz en la publicación del libro titulado Mitsou. Historia de un gato, con ilustraciones del joven pintor y prólogo del poeta. Este caso de estudio sirve como hilo conductor de un análisis de mayor calado sobre el problema de lo “Abierto”, concepto de orden nouménico que Rilke acuña en su intercambio creativo con Balthus, y que fue motivo concreto de (...) reflexión por parte de Martin Heidegger. El presente trabajo pretende abordar las implicaciones de afinidad y enfrentamiento entre Rilke y Heidegger, y profundizar en la figura del gato como imagen metafórica de la animalidad presente en el develamiento que acontece en el Da-sein. Para ello será necesario considerar aportaciones teóricas clave de Ortega y Gasset y Schopenhauer, así como posturas críticas de Giorgio Agamben y Jacques Derrida, específicamente relevantes en este debate, que se inclinan hacia una ontología animal de la alétheia. (shrink)

Auxin is a key regulator of plant developmental processes. Its effects on transcription are mediated by the AUXIN RESPONSE FACTOR (ARF) family of transcription factors. ARFs tightly control specific auxin responses necessary for proper plant growth and development. Recent research has revealed that regulated ARF protein accumulation and ARF nucleo‐cytoplasmic partitioning can determine auxin transcriptional outputs. In this review, we explore these recent findings and consider the potential for regulated ARF accumulation in driving auxin responses in plants.

Increasing the socio-economic effects caused by the tourism development in the local population, they adopt some attitudes according to the impacts directly or indirectly perceived. However, some of this impact can be considered positive or negative, according to different perspectives. The issue of the resident-tourist relationship has been much-discussed recently. Therefore, many case studies are being conducted that address the impacts on both residents and tourists. The goal of this manuscript is to analyze the attitudes of local residents to the (...) development of tourism in the urban monument zone Předhradí. Primary data were collected in a questionnaire survey for residents who have a permanent residence in a municipality of Předhradí in 2020. In our research, we tried to identify the significant negative impacts of tourism development. In the same way, we evaluate how the locals see positive effects on their quality of life conducted with tourism development. The research finds out that local respondents perceived some negative impacts to increase the economic perspective, as they referred to in the higher traffic load or increased noise. The pandemic crises are perceived as a game-changer in the tourism industry. For that reason, we suggest the primary considerations for future research not only with the academic perfective as for the practical point of view. The local population’s entrepreneurship attitudes must be one of the tools to assume the resilience toward the tourism development impacts. (shrink)

When someone says, John is an early bird … and continues so he can fly to the morning classes, attention is being called to the literal meaning of the conventional metaphor early bird—perhaps as a...

Jeremy Fix, in ‘Two Sorts of Constitutivism’ (2021), makes a case for the possibility of contingent essential properties to account for the metaphysical status of constitutive standards of things. In this brief note, I will present an open problem affecting Fix's conception, namely, the explanation of the membership of particulars to a genus, which is necessary to identify particulars subject to standards.

Preserving dignity during the dying process requires reviewing the roles of those involved in the treatment, care methods and decision-making. This article examines the participation and responsibility assigned to nurses regarding decision-making in the final stages of life, as laid out in the Rights to and Guarantee of Dignity for the Individual During the Process of Death Act. This text has been analysed on the levels of socio-cultural practice and discourse practice, using the critical discourse analysis methodology. The results show (...) that, although the law is another result of the social trend of patient empowerment, the responsibility of the nurses is not recognised, and they are left out of the decision-making process in the final stages of life. (shrink)

You find yourself in a court of law, accused of having hit someone. What can you do to avoid conviction? You could simply deny the accusation: 'No, I didn't do it'. But suppose you did do it. You may then give a different answer. 'Yes, I hit him', you grant, 'but it was self-defence'; or 'Yes, but I was acting under duress'. To answer in this way-to offer a 'Yes, but...' reply-is to hold that your particular wrong was committed in (...) exceptional circumstances. Perhaps it is true that, as a rule, wrongdoers ought to be convicted. But in your case the court should set the rule aside. You should be acquitted. Within limits, the law allows for exceptions. Or so we tend to think. In fact, the line between rules and exceptions is harder to draw than it seems. How are we to determine what counts as an exception and what as part of the relevant rule? The distinction has important practical implications. But legal theorists have found the notion of an exception surprisingly difficult to explain. This is the longstanding jurisprudential problem that this book seeks to solve. The book is divided into three parts. Part I, Defeasibility in Question, introduces the topic and articulates the core puzzle of defeasibility in law. Part II, Defeasibility in Theory, develops a comprehensive proof-based account of legal exceptions. Part III, Defeasibility in Action, looks more closely into the workings of exceptions in accusatory contexts, including the criminal trial. (shrink)

A Filosofia Renascentista muitas vezes é desprezada no estudo filosófico; no entanto, essa fase da história merece destaque em razão do surgimento do humanismo, movimento intelectual que enaltece a figura humana. A centralização do homem no mundo é tratada nas obras de Giovanni Pico della Mirandola e Blaise Pascal, filósofos em destaque nesta sucinta pesquisa.