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)

Conceptual congruency effects are biases induced by an irrelevant conceptual dimension of a task (e.g., location in vertical space) on the processing of another, relevant dimension (e.g., judging words’ emotional evaluation). Such effects are a central empirical pillar for recent views about how the mind/brain represents concepts. In the present paper, we show how attentional cueing (both exogenous and endogenous) to each conceptual dimension succeeds in modifying both the manifestation and the symmetry of the effect. The theoretical implications of this (...) finding are discussed. (shrink)

In this article, we aim to evaluate the role of robots’ personality-driven behavioural patterns on users’ intention to use in an entertainment scenario. Toward such a goal, we designed two personalities: one introverted with an empathic and self-comparative interaction style, and the other extroverted with a provocative and other-comparative interaction style. To evaluate the proposed technology acceptance model, we conducted an experiment (N = 209) at a public venue where users were requested to play a game with the support of (...) the TIAGo robot. Our findings show that the robot personality affects the acceptance model and three relevant drivers: perceived enjoyment, perceived usefulness, and social influence. The extroverted robot was perceived as more useful than the introverted, and participants who interacted with it were faster at solving the game. On the other hand, the introverted robot was perceived as more enjoyable but less useful than the extroverted, and participants who interacted with it made fewer mistakes. Taken together, these findings support the importance of designing proper robot personalities in influencing users’ acceptance, featuring that a given style can elicit a different driver of acceptance. (shrink)

En este artículo se utiliza el mito y la figura de Anfitrión para analizar el juego situacional entre los roles antitéticos, pero también complementarios, del anfitrión y el invitado, así como la dialéctica entre lo privado y lo público. Por último, el mito da pie para analizar el complejo papel de la deuda moral en dicha interactuaciónDon, público, privado, deuda moral, anfitrión, invitado.

In this article, we aim to evaluate the role of robots’ personality-driven behavioural patterns on users’ intention to use in an entertainment scenario. Toward such a goal, we designed two personalities: one introverted with an empathic and self-comparative interaction style, and the other extroverted with a provocative and other-comparative interaction style. To evaluate the proposed technology acceptance model, we conducted an experiment (N = 209) at a public venue where users were requested to play a game with the support of (...) the TIAGo robot. Our findings show that the robot personality affects the acceptance model and three relevant drivers: perceived enjoyment, perceived usefulness, and social influence. The extroverted robot was perceived as more useful than the introverted, and participants who interacted with it were faster at solving the game. On the other hand, the introverted robot was perceived as more enjoyable but less useful than the extroverted, and participants who interacted with it made fewer mistakes. Taken together, these findings support the importance of designing proper robot personalities in influencing users’ acceptance, featuring that a given style can elicit a different driver of acceptance. (shrink)

People implicitly associate positive ideas with their dominant side of space and negative ideas with their non-dominant side. Right-handers tend to associate “good” with “right” and “bad” with “left,” but left-handers associate “bad” with “right” and “good” with “left.” Whereas right-handers' implicit associations align with idioms in language and culture that link “good” with “right,” left-handers' implicit associations go against them. Can cultural conventions modulate the body-specific association between valence and left-right space? Here, we compared people from Spanish and Moroccan (...) cultures, which differ in the strength of taboos against the use of the left hand, and therefore in their preference for the right. Results showed stronger explicit associations between space and valence in Moroccan participants than in Spaniards, but they did not show any increased tendency for right-handed Moroccans to associate “good” with “right” implicitly. Despite differences in cultural conventions between Spaniards and Moroccans, we find no evidence for a cross-cultural difference in the implicit association between space and valence, which appears to depend on patterns of bodily experience. (shrink)

San Isidoro de Sevilla destaca por poseer un saber universal. Esta universalidad de su saber también es expresada en su reflexión sobre el ministerio sacerdotal. A través de una triple aproximación «teológica», «pastoral» y «espiritual», invita a los obispos y presbíteros a vivir su ministerio de una forma «eclesial», «virtuosa» y «santa».

Entrevista concedida por Antonio Negri a Homero Santiago e Mario Marino por ocasião do lançamento da segunda edição da tradução brasileira de A anomalia selvagem: poder e potência em Espinosa.

El presente trabajo persigue aclarar y explicitar los fundamentos ontológicos presentes en el tratado Realidad y substancia, de Antonio Escohotado. De modo sintético el sujeto se funda en la nada el recorrido de la esencia, que se redefinirá como invenir para alcanzar el mayor grado de objetividad en el acto, en la actividad de lo real. Al fin, inmerso en una realidad dinámica se postula la vida, ya no como sujeto, para ahondar en la experiencia como un tránsito en (...) el que el conocimiento es posible dentro de lo indeterminado. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 31-45 [Access article in PDF] Antonio Gramsci on Surrealism and the Avant-garde E. San Juan, Jr. Surrealism provided me with what I had been confusedly searching for. I have accepted it joyfully because in it I have found more of a confirmation than a revelation. It was a weapon that exploded the French language. It shook up absolutely everything....A process of (...) disalienation, that's how I interpreted surrealism. 1In the spring of 1919, André Breton and Phillipe Soupault conducted various experiments in automatic writing. They converted themselves into machines to record the whispers of the unconscious, inspired by Rimbaud's urge for adventure in quest of cosmic knowledge and Lautreamont's conviction of art as a communal enterprise. To destroy bourgeois morality and class inequality, uphold the freedom of the imagination, and release the libidinal energies dammed up in the psyche, surrealism — Guillaume Appolinaire's term 2 — was invented from the nihilistic ruins of Dada to lay the groundwork for building a society founded on liberty and justice. In the same year the Italian Marxist Antonio Gramsci founded the innovative journal, L'Ordine Nuovo and advocated the factory council (modeled after the Russian Soviets) as the germ of an emergent communist society. Both initiatives were pathbreaking in challenging the orthodoxies of modernist bourgeois culture, politics, and philosophy.When Breton published his 1924 "First Manifesto of Surrealism" privileging dreams, the unconscious, the fantastic, and marvelous, Gramsci was the principal leader of the Communist Party of Italy spearheading the opposition to Mussolini's fascist takeover. Two years later, Gramsci was arrested and imprisoned until his death in 1937. In the Prison Notebooks that occupied him while in jail, Gramsci does not — as far as I am aware — refer to Breton or to surrealism directly. But in his scattered reflections on modern art and culture in general, and in his particular observations on Italian futurism (in particular, on Filippo Marinetti and Luigi Pirandello), we can [End Page 31] extrapolate the general approach Gramsci would take toward surrealism and avantgarde art as oppositional cultural practices. This exercise may clarify what a revolutionary Marxist position should be toward the philosophical or pedagogical category of the aesthetic within the field of cultural practice and artistic production, especially in the post-Cold War epoch of nation-state realignments and the reconfiguration of globalized finance capital in the new millennium.All commentators agree that Gramsci viewed the aesthetic as a category within the terrain of historical materialism and the political economy ofvalue in general. Artistic values are rooted in the social and material practices of a specific society which defines the limits of conventional artistic forms and the subject matter available to the artist. Vision or intuition and diverse raw materials (language, sounds, dance movements, and filmic images) are indissociable. Contrary to Benedetto Croce's emphasis on transcendental intuition, Gramsci valorizes the materialization of this intuition into perceptible, sensory structure, an architectonic whole produced by intellectual discipline and shaped by an integral worldview. In short, for Gramsci, the work of art is the historicization and objectification of vision/intuition.Gramsci's conception of Marxism stresses its intrinsic dialectical method, its emphasis on processes and relations within a social formation comprised of multilayered modes of production, given the necessarily uneven development of capitalism. This mode of historicizing life not only to interpret but to change it is a guide for collective action, not a dogmatic party line. "Man 'is' precisely the process of his actions," Gramsci writes, and "relative to what we have thought and seen, we seek to know what we are and what we can become, whether it is true and within what limits that we do 'make ourselves,' create our own lives and our own destinies." 3 Here, knowledge and action are oriented toward linking the past with the present in order to fashion the future. The chronotope of revolution is essentially a collage, more precisely a montage, of transformations that amalgamates contraries, oppositions, disparities.While Gramsci did not endorse Freudian theory completely except by... (shrink)

Este trabajo intenta exponer que un pasaje de la carta de san Jerónimo a Principia inspiró a san Juan de Ávila para escribir el tratado de vida espiritual que es el Audi, filia.

Having lost much of its political clout and theoretical power, communism no longer represents an appealing alternative to capitalism. In its original Marxist formulation, communism promised an ideal of development, but only through a logic of war, and while a number of reformist governments still promote this ideology, their legitimacy has steadily declined since the fall of the Berlin wall. Separating communism from its metaphysical foundations, which include an abiding faith in the immutable laws of history and an almost holy (...) conception of the proletariat, Gianni Vattimo and Santiago Zabala recast Marx's theories at a time when capitalism's metaphysical moorings--in technology, empire, and industrialization--are buckling. While Michael Hardt and Antonio Negri call for a return of the revolutionary left, Vattimo and Zabala fear this would lead only to more violence and failed political policy. Instead, they adopt an antifoundationalist stance drawn from the hermeneutic thought of Martin Heidegger, Jacques Derrida, and Richard Rorty. Hermeneutic communism leaves aside the ideal of development and the general call for revolution; it relies on interpretation rather than truth and proves more flexible in different contexts. Hermeneutic communism motivates a resistance to capitalism's inequalities yet intervenes against violence and authoritarianism by emphasizing the interpretative nature of truth. Paralleling Vattimo and Zabala's well-known work on the weakening of religion, _Hermeneutic Communism_ realizes the fully transformational, politically effective potential of Marxist thought. (shrink)

El objeto de este trabajo ha consistido en averiguar las fuentes no conocidas todavía que utilizó San Juan de Ávila en su obra «Audi, filia», aunque también se recogen en él las que ya se hallaban en las ediciones anteriores y que se encuentran oportunamente indicadas.

Having lost much of its political clout and theoretical power, communism no longer represents an appealing alternative to capitalism. In its original Marxist formulation, communism promised an ideal of development, but only through a logic of war, and while a number of reformist governments still promote this ideology, their legitimacy has steadily declined since the fall of the Berlin wall. Separating communism from its metaphysical foundations, which include an abiding faith in the immutable laws of history and an almost holy (...) conception of the proletariat, Gianni Vattimo and Santiago Zabala recast Marx's theories at a time when capitalism's metaphysical moorings -- in technology, empire, and industrialization -- are buckling. While Michael Hardt and Antonio Negri call for a return of the revolutionary left, Vattimo and Zabala fear this would lead only to more violence and failed political policy. Instead, they adopt an antifoundationalist stance drawn from the hermeneutic thought of Martin Heidegger, Jacques Derrida, and Richard Rorty. Hermeneutic communism leaves aside the ideal of development and the general call for revolution; it relies on interpretation rather than truth and proves more flexible in different contexts. Hermeneutic communism motivates a resistance to capitalism's inequalities yet intervenes against violence and authoritarianism by emphasizing the interpretative nature of truth. Paralleling Vattimo and Zabala's well-known work on the weakening of religion, _Hermeneutic Communism_ realizes the fully transformational, politically effective potential of Marxist thought. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 31-45 [Access article in PDF] Antonio Gramsci on Surrealism and the Avant-garde E. San Juan, Jr. Surrealism provided me with what I had been confusedly searching for. I have accepted it joyfully because in it I have found more of a confirmation than a revelation. It was a weapon that exploded the French language. It shook up absolutely everything....A process of (...) disalienation, that's how I interpreted surrealism. 1In the spring of 1919, André Breton and Phillipe Soupault conducted various experiments in automatic writing. They converted themselves into machines to record the whispers of the unconscious, inspired by Rimbaud's urge for adventure in quest of cosmic knowledge and Lautreamont's conviction of art as a communal enterprise. To destroy bourgeois morality and class inequality, uphold the freedom of the imagination, and release the libidinal energies dammed up in the psyche, surrealism — Guillaume Appolinaire's term 2 — was invented from the nihilistic ruins of Dada to lay the groundwork for building a society founded on liberty and justice. In the same year the Italian Marxist Antonio Gramsci founded the innovative journal, L'Ordine Nuovo and advocated the factory council (modeled after the Russian Soviets) as the germ of an emergent communist society. Both initiatives were pathbreaking in challenging the orthodoxies of modernist bourgeois culture, politics, and philosophy.When Breton published his 1924 "First Manifesto of Surrealism" privileging dreams, the unconscious, the fantastic, and marvelous, Gramsci was the principal leader of the Communist Party of Italy spearheading the opposition to Mussolini's fascist takeover. Two years later, Gramsci was arrested and imprisoned until his death in 1937. In the Prison Notebooks that occupied him while in jail, Gramsci does not — as far as I am aware — refer to Breton or to surrealism directly. But in his scattered reflections on modern art and culture in general, and in his particular observations on Italian futurism (in particular, on Filippo Marinetti and Luigi Pirandello), we can [End Page 31] extrapolate the general approach Gramsci would take toward surrealism and avantgarde art as oppositional cultural practices. This exercise may clarify what a revolutionary Marxist position should be toward the philosophical or pedagogical category of the aesthetic within the field of cultural practice and artistic production, especially in the post-Cold War epoch of nation-state realignments and the reconfiguration of globalized finance capital in the new millennium.All commentators agree that Gramsci viewed the aesthetic as a category within the terrain of historical materialism and the political economy ofvalue in general. Artistic values are rooted in the social and material practices of a specific society which defines the limits of conventional artistic forms and the subject matter available to the artist. Vision or intuition and diverse raw materials (language, sounds, dance movements, and filmic images) are indissociable. Contrary to Benedetto Croce's emphasis on transcendental intuition, Gramsci valorizes the materialization of this intuition into perceptible, sensory structure, an architectonic whole produced by intellectual discipline and shaped by an integral worldview. In short, for Gramsci, the work of art is the historicization and objectification of vision/intuition.Gramsci's conception of Marxism stresses its intrinsic dialectical method, its emphasis on processes and relations within a social formation comprised of multilayered modes of production, given the necessarily uneven development of capitalism. This mode of historicizing life not only to interpret but to change it is a guide for collective action, not a dogmatic party line. "Man 'is' precisely the process of his actions," Gramsci writes, and "relative to what we have thought and seen, we seek to know what we are and what we can become, whether it is true and within what limits that we do 'make ourselves,' create our own lives and our own destinies." 3 Here, knowledge and action are oriented toward linking the past with the present in order to fashion the future. The chronotope of revolution is essentially a collage, more precisely a montage, of transformations that amalgamates contraries, oppositions, disparities.While Gramsci did not endorse Freudian theory completely except by... (shrink)

The article begins by noting that the first mention of the Correspondence between Seneca and Paul appears in De viris illustribus of Jerome. After a summary of the status quaestionis, it examines the context of the De viris, particularly the information on Seneca. Then the article presents an analysis of some aspects of the Correspondence in order to highlight the harmony between the views of the Correspondence and the ideas of Jerome, especially the considerations on the inadequacy of the language (...) of the Pauline letters. After finding other reasons of convergence, we formulate a hypothesis about the origin of the Correspondence. (shrink)

Nos textos aqui reunidos, o professor de filosofia da USP Homero Santiago explora um campo situado entre servidão e liberdade. A partir da pergunta de Espinosa retomada por Deleuze e Guattari - por que lutamos por nossa servidão como se lutássemos por nossa liberdade? -, o livro compreende servidão e liberdade como essencialmente correlativos e avessos a qualquer sentido absoluto: servidão remete a impotência, liberdade remete a potência; ora uma predomina, ora outra. Aqui aparece o problema ético fundamental: como (...) passar de uma situação de predomínio da primeira para o predomínio da segunda? Um cartão-postal de Nietzsche é mote para ressaltar e analisar alguns aspectos do espinosismo que, embora longe de serem inéditos, servem para desacreditar a compreensão e, sobretudo, a louca pretensão de um enfrentamento intelectualista da servidão. Esta não se combate só pelo saber, está enraizada em nosso próprio ser: aquilo mesmo que pode nos tornar livres é capaz de nos fazer servos e vice-versa. Em meio a Espinosa, Nietzsche e Antonio Negri, o livro trata do problema do possível, delimitando seu lugar no interior de um determinismo radical (o espinosano) e tateando suas implicações. O possível, como uma espécie de perspectiva que torna factível o trânsito entre servidão e liberdade, descortinando, assim, o campo próprio da ação humana, especialmente a política. A partir de temas recorrentes em nossa realidade social e na situação brasileira recente - a polícia e seu pendor à violenta obediência abstrata, o papel do Estado, o dinheiro e a liberdade - o apelo às experiências tem a função de alargar as possibilidades de se pensar e aplicar os conceitos de servidão e liberdade."--Publisher's website. (shrink)

Le grand maitre des apparences, Baltasar Gracián, dit que ce qui ne se voit pas est comme s'il n'était pas. Il n'a sans doute pas livré là, peut-être par prudence, le fond de sa pensée : ce qui ne se perçoit pas n'existe pas. Telle est la thèse en tout cas du présent traité.

Cet ouvrage est dans la continuite de la reflexion de Santiago Espinosa, qui etend ses vues sur la musique a l'art en general, et qui aborde des sujets plus vastes comme la science physique (l'auteur fait observer que les scientifiques contemporains adoptent la perspective critiquee des lors qu'ils cherchent a faire une image de l'univers). A cette perspective, Espinosa oppose la perception auditive, plus prompte a saisir le mouvement et le changement, non susceptible par surcroit d'en faire une image (...) ou meme une chose. Il fait remarquer l'interet de certains philosophes pour l'intuition du silence de l'interpretation, aucune chose ne pouvant etre le signe (ou l'image) d'une autre, n'etant que ce qu'elle est, ou plutot devient. Il revient enfin a la mise en rapport de la perspective imaginative et les affections de l'angoisse, la melancolie et la nausee afin de montrer que ces dernieres relevent parfois de l'illusion que les choses semblent, dans la mesure ou elles sont prises pour des images, se repeter sans cesse. Pour l'ouie, sensible a la singularite de ce qui passe, tout ce qui arrive est en revanche d'une surprenante nouveaute, ce qui, pour l'affirmateur de la realite, peut se reveler etre aussi une source de joie. (shrink)

Coincidiendo con los cincuenta años del inicio del Concilio Vaticano II y con los veinte años de la promulgación del Catecismo de la Iglesia Católica, su Santidad el Papa Benedicto XVI, a través de la Carta Apostólica Porta Fidei, ha declarado un Año de la Fe que abarcaría desde el 11 de Octubre del presente año 2012 hasta el 24 de Noviembre del próximo año 2013. Se desea, en este tiempo, redescubrir el don de la fe, y para ello como (...) hará el propio Pontífice– no se encontrará mejor apoyo que la doctrina de San Agustín de Hipona. Les invito, pues, a atravesar “la puerta de la fe” (Hch. 14,27), que permitirá adentrarnos en la Iglesia para vivir en comunión con Dios, de la mano del “Doctor más universal y el genio más vigoroso que ha poseído la Iglesia”. (shrink)

Resenha de: Vittorio Morfino, Intersoggettività o transindividualità. Materiali per un’alternativa, Castel di San Pietro Romano, Manifestolibri, 2022.