A cidade nas práticas artísticas [The city in artistic practices] is the result of the work developed, of the presentations and the debates held within the cycle of seminars “The experience of the city between art and philosophy”, held between 3 March 2020 and 16 June 2021 (calendar dramatically compromised by the challenges of the COVID 19 pandemic), one of the main activities of the OBRA project — Fragmentation and Reconfiguration: experiencing the city between art and philosophy, based at IFILNOVA (...) — Philosophy Institute of NOVA, in Lisbon. The book is divided into five parts, relating to each of the artistic disciplines to which the seminars were dedicated – cinema, photography, sound arts, literature and architecture —, which are edited by the organizers responsible for each of them — respectively, Susana Viegas, Humberto Brito, Nuno Fonseca João Oliveira Duarte and Susana Ventura — and composed of the respective narrated accounts of each seminar and of short essays, some merely textual, others graphical or even photographic, which are either in-depth versions of the reflections and positions that were presented and debated by the participants and guests, or works that motivated and inspired the work of the seminars. The seminar cycle and the book now presented here intend to reflect on the role of artistic practices in the representation and reconfiguration of urban experience, trying to understand their different attempts to apprehend and express the fragmentation of aesthetic experience in modern and contemporary cities, as well as to evaluate their contribution to an eventual symbolic and imaginative reconfiguration of that experience. Each section tries, in its own way, to answer questions such as: How do these arts think and reinvent the city? What do they make us feel? And what is their social and political role? For reasons that are easy to understand, Lisbon was the starting point, but other cities were also part of the journey. (shrink)

Este ensaio pretende analisar uma ideia de Europa, delimitada pelo mar Mediterrâneo, através do filme de Manoel de Oliveira, Um Filme falado (2003), e dos conceitos filosóficos de espaço liso e território, segundo Gilles Deleuze e Félix Guattari. Current essay analyzes a specific idea of Europe, limited by the Mediterranean Sea, presented by the film called Um Filme falado (2003) by Manoel de Oliveira, and the philosophic concepts of space and territory expounded by Gilles Deleuze and Félix Guattari.

Inspired by Farshad Zahedi’s audiovisual essay The Petrified Object and the Poetics of Time in Cinema, this article briefly presents three philosophical approaches to cinema’s ways of expressing time – as articulated by Bergson, Tarkovsky, and Deleuze – and questions how absolute time and chronological time are brought to a state of crisis by this modern form of art.

This article explores the affinities between film and philosophy by returning to a shared meditation on death and the nature of time. Death has been considered the muse of philosophy and can also be considered the muse of film-philosophy. But what does it mean to say that to film-philosophise is to learn to die, or a kind of training for dying? Film is an artistic object that reminds us of death’s inevitability; it is a meditation on the transient and finite (...) nature of time. Films as diverse as Mizoguchi’s Tales of Ugetsu, Resnais’s Hiroshima mon Amour, and Guzmán’s Nostalgia for the Light take an uncanny approach to the subject, expressing the paradoxical coexistence of life and death and of different temporal dimensions. This article explores the philosophical concept of the death-image and time through a Deleuzian approach to cinema, meditating on the flashback, the coexistence of the present and the past, and the emergence of a new type of Lazarean character – one who returns from the dead. The article aims to clarify not simply death’s unquestionable omnipresence in film but also cinema’s role as a contemporary version of the trope of memento mori. (shrink)

Os estudos deleuzianos sobre o cinema destacam a importância dos dois regimes semióticos (imagem-movimento e imagem-tempo) para a compreensão da nossa relação estética e epistemológica com as imagens em movimento. Pelo contrário, este artigo procura destacar os momentos de crise entre os dois regimes assinalando o carácter genérico de incerteza e ambiguidade da natureza das imagens mentais: enfraquecido o esquema sensório-motor que domina na montagem cinematográfica, as personagens, incapazes de agir, podem imaginar, desejar, sonhar, alucinar, e lembrar. Surgem novos tipos (...) de imagem: imagens-recordação, imagens-sonho e imagens-mundo. Como é que esses novos tipos de imagem nos fazem repensar a nossa habitual relação com o mundo e com a realidade? Com este artigo sobre a dimensão virtual e onírica do cinema, procuro contribuir para uma maior disseminação de um dos principais contributos de Gilles Deleuze para a filosofia do cinema: a distinção entre o imaginário e a realidade. (shrink)

The Deleuzian studies on cinema highlight the importance of two semiotic regimes (movement-image and time-image) for the understanding of our aesthetical and epistemological relationship with moving images. On the contrary, this article highlights the moments of crisis between the two regimes, pointing out the generic character of uncertainty and ambiguity in the nature of mental images: once the sensorimotor scheme that dominates the cinematographic montage has been weakened, the characters, unable to act, can imagine, desire, dream, hallucinate, and remember. New (...) types of images appear: recollectionimages, dream-images, and world-images. How do these new types of images make us rethink our usual relationship with the world and with reality? With this article on cinema’s virtual and oneiric dimension, I expect to disseminate one of Gilles Deleuze’s greatest contributions to film philosophy: the distinction between the imaginary and reality. (shrink)

On the one hand, there’s the internal development of cinema as it seeks new audio-visual combinations and major pedagogical lines and finds in television a wonderful field to explore.1My aim in this essay will be to approach cinema, philosophy, and cinematic pedagogy through an exploration of the interest and impact that the Portuguese filmmaker Manoel de Oliveira has had on the philosophical thought regarding cinema and the moving images of Gilles Deleuze. According to Deleuze, there is a principle of affinity (...) between the two forms of thought expression, explored as a peculiar transversal project.. (shrink)

Although it is an emerging research field, the philosophy of film has a long tradition of investigating the complex relationship between painting and film, with a special focus on films about painting: on how the two art forms encounter each other from a spatial and temporal perspective. In addition, the field has long explored the ways in which films represent the modern city. From the beginning, film has been associated with the representation of the modern city and of other art (...) forms. Focusing on O Pintor e a Cidade/The Artist and the City (1956) by Manoel de Oliveira (1908–2015), and grounded in Gilles Deleuze’s philosophy of film, the following touches on both of these themes. The Artist and the City is a short documentary on António Cruz (1907–1983)—a watercolorist known for his landscapes of Porto—the subject of which is not only the painter’s life and work but also the city itself, as its title suggests. As the following will show, the film offers a twofold representation of the city: that provided by Manoel de Oliveira, and that provided by the subject of the documentary, António Cruz. (shrink)

RESUMO Neste ensaio analiso as diferentes modalidades de pensamento que ocorrem entre a filosofia e as imagens em movimento partindo da distinção metafilosófica elaborada por Gilles Deleuze entre “pensar” e “filosofar”. Esta é uma distinção fundamental para a possível elaboração de uma filosofia do cinema, ou, pelo menos, para afirmar que “o cinema filosofa”, uma tese atualmente imersa num certo equívoco. Neste sentido, como possível resolução para tal mal-entendido, sugiro uma adequada designação deleuziana de “pensar com conceitos” e “pensar com (...) imagens”, num processo recíproco fundamental entre o campo filosófico e o não filosófico das artes. Começando com uma introdução à noologia em Deleuze e uma descrição dessas ideias e do seu valor estético, prossigo com uma análise mais detalhada sobre imagens em movimento, metáforas e adaptação cinematográfica de modo a, dentro de uma abordagem pós-continental e pós-analítica, questionar se o cinema filosofa. ABSTRACT In this essay I analyse the different modalities of thought that occur between philosophy and moving images, beginning with Gilles Deleuze’s metaphilosophical distinction between “thinking” and “philosophizing”. This is an essential distinction for the possible elaboration of a film philosophy, or at least one which claims that “film philosophizes,” a thesis that is nowadays immerged in a certain misconstruction. In this sense, I suggest, as a conceivable resolution to this misunderstanding, a more proper Deleuzian designation of “thinking with concepts” and “thinking with images,” in a fundamental reciprocal process between the philosophical and non-philosophical fields of the arts. Starting with an introduction to Deleuze’s noology and a description of these ideas and their aesthetic value, I proceed with a closer analysis of moving images, metaphors, and film adaptation in order to question, within a post-continental-analytic approach, whether film philosophizes. (shrink)

Neste texto, procuro encontrar as origens de um dos mais importantes conceitos de Gilles Deleuze, o conceito de Imagem-tempo. Este conceito remete-nos para os primeiros textos de Deleuze dedicados à filosofia de Espinosa e ao problema do autómato espiritual e relaciona-se directamente com o problema da passividade/actividade do espectador. Ou seja, o conceito crucial na sua filosofia do cinema, a Imagem-tempo, esconde uma importante reflexão sobre a Imagem cinematográfica como arte de massas, os (im)poderes do pensamento e o modo fascista (...) de se pensar. This text seeks to find the origins of one of the most important of Gilles Deleuze's concepts, the concept of Time-image. This concept leads us to his first texts regarding Spinoza's philosophy and the problem of the spiritual automaton, and concerns directly with the problem of passivity/activity of the film goer. That is to say that the crucial concept of his film philosophy, Time-image, hides a fundamental consideration on the cinematic image as a mass art, the (un)powers of thinking and the fascist way of thought. (shrink)

Apresentamos a leitura deleuziana do papel e do poder da imaginação e do esquematismo no juízo estético segundo Immanuel Kant destacando, em particular, a importância de se pensar um desacordo entre faculdades e de, no limite, afirmarmos a impossibilidade de uma filosofia da arte. Como se dá o processo que liga sensações e conceitos, arte e filosofia? Ao respondermos a esta questão, também esclarecemos a situação peculiar de Kant na filosofia de Gilles Deleuze e a leitura que este faz em (...) A Filosofia Crítica de Kant, publicado em 1963. Teremos como objeto de análise um filme sensorial, To the Wonder/A Essência do Amor, realizado por Terrence Malick. (shrink)

O presente artigo tem dois objectivos: por um lado, o de analisar os conceitos de percepçáo e memória no cinema segundo a fenomenologia de Maurice Merleau-Ponty em “Le Cinéma et la Nouvelle Psychologie” e, por outro lado, o de analisar estes mesmos conceitos no filme de Christopher Nolan, Memento . A nossa principal referência será a fenomenologia da percepçáo em Merleau-Ponty de modo a melhor compreendermos o interesse fenomenológico do cinema e deste filme em particular.

Resumo Neste ensaio procuro analisar o movimento reversível que há entre cinema e filosofia no pensamento de Gilles Deleuze. A filosofia do cinema é um dos temas deleuzianos por excelência e Cinema 1 e Cinema 2, dois dos seus livros mais estudados. Porém, que papel teve o cinema no seu pensamento filosófico? Com o objectivo de analisar os diferentes tipos de interferências que ocorrem entre o campo estritamente filosófico e o campo não-filosófico, pretendo demonstrar de que modo o cinema não (...) foi apenas considerado como uma arte que ilustrava ideias filosóficas já elaboradas, mas como uma arte que contribuiu para a própria criação conceptual. Palavras-chave : filosofia do cinema, Gilles Deleuze, metafilosofia, noologiaMy aim with the present essay is to analyse the reversible movement that occurs in Gilles Deleuze’s thought between cinema and philosophy. Philosophy of cinema is one of the most stimulating aspects of the deleuzian thought and Cinema 1 and Cinema 2 two of his most studied books. However, which role had cinema in his philosophical thought? With the final objective of analysing the different kinds of interferences that occur between the specific philosophical field and the non-philosophical field, I want to clarify how cinema was not seen as a mere artistic illustration of some pre-existing ideas but as a philosophical contribution. Keywords : Gilles Deleuze, metaphilosophy, noology, philosophy of cinema. (shrink)

What is Philosophy?, the third volume of the series of books that Gilles Deleuze and Félix Guattari wrote on “Capitalism and Schizophrenia”, presents us with a rather unusual idea, but one that is essential to understanding contemporary philosophical thought: the notion that philosophy is a concept-creating machine that must be connected to other machines, such as the arts and the sciences. Philosophy, science, and art are three distinct forms of reliable thinking. Given the heterogeneity of thinking, in what sense can (...) the three distinct forms of thinking answer the problem of creating concepts and using the machine as an allegory? This essay aims to analyse philosophy’s role in its relation to artistic and scientific practices by examining Dziga Vertov’s Man with a Moving Camera. It will focus on three guiding principles: creation is not exclusive to art and the sensible; philosophy mediates the relation between art and the sciences; and this mediation aims to keep their discord alive, not to solve it. (shrink)

Observations of animals engaging in apparently moral behavior have led academics and the public alike to ask whether morality is shared between humans and other animals. Some philosophers explicitly argue that morality is unique to humans, because moral agency requires capacities that are only demonstrated in our species. Other philosophers argue that some animals can participate in morality because they possess these capacities in a rudimentary form. Scientists have also joined the discussion, and their views are just as varied as (...) the philosophers’. Some research programs examine whether animals countenance specific human norms, such as fairness. Other research programs investigate the cognitive and affective capacities thought to be necessary for morality. There are two sets of concerns that can be raised by these debates. They sometimes suffer from there being no agreed upon theory of morality and no clear account of whether there is a demarcation between moral and social behavior; that is, they lack a proper philosophical foundation. They also sometimes suffer from there being disagreement about the psychological capacities evident in animals. Of these two sets of concerns—the nature of the moral and the scope of psychological capacities—we aim to take on only the second. In this chapter we defend the claim that animals have three sets of capacities that, on some views, are taken as necessary and foundational for moral judgment and action. These are capacities of care, capacities of autonomy, and normative capacities. Care, we argue, is widely found among social animals. Autonomy and normativity are more recent topics of empirical investigation, so while there is less evidence of these capacities at this point in our developing scientific knowledge, the current data is strongly suggestive. (shrink)

Modern management reporting on its company''s performance is influenced by individuals ethical considerations. Stakeholders philosophies have continued to change over the last 75 years affecting reporting systems for companies reporting information internally and externally. These fundamental changes in philosophy have affected how information is conveyed. We are not claiming that only one philosophical viewpoint dominates companies reporting practices, but there does appear to be a changing trend of philosophies building on one another. We use resource dependence theory in relationship to (...) a decision-making model to explain changing stakeholders positions over time. This paper argues that six dominant philosophical theories have influenced the way individuals and organizations report financial and other information. Further, these philosophies then are depicted in a model that helps us to understand what influences companies to present themselves to the outside world. A vignette is used to depict changing philosophical views for several companies management report over 75 years. (shrink)

Rationale, aims and objectives Given the increasing prevalence of cataract and demand for cataract extraction surgery, patients must often wait to undergo this procedure. We validated a previously developed priority scoring system in terms of clinical variables, pre-intervention health status, appropriateness of surgery and gain in visual acuity (VA) and health-related quality of life (HRQoL).Methods Explicit prioritization criteria for cataract extraction created by a variation of the Research and Development (RAND) and University of California Los Angeles appropriateness methodology were retrospectively (...) applied to a prospective cohort of 5257 patients on waiting lists to undergo cataract by phacoemulsification at 17 hospitals in Spain. Demographic data, clinical data and data related to surgical technique were collected by trained ophthalmologists. Patients were evaluated by their ophthalmologist before the intervention and 6 weeks afterward. They also completed, by mail, the Visual Function Index (VF-14) before the intervention and 3 months afterward.Results High-priority patients experienced greater improvement in VA and HRQoL than those classified as intermediate or low-priority (P < 0.0001), even after adjusting by VA and the VF-14 score at baseline. The time to intervention was the same for high-priority patients as it was for intermediate and low-priority patients.Conclusions The priority score we developed identified patients most likely to experience the greatest improvements from cataract extraction. Use of this tool could provide a fairer and more rational way to prioritize patients for cataract extraction. (shrink)

It has been argued that some animals are moral subjects, that is, beings who are capable of behaving on the basis of moral motivations. In this paper, we do not challenge this claim. Instead, we presuppose its plausibility in order to explore what ethical consequences follow from it. Using the capabilities approach, we argue that beings who are moral subjects are entitled to enjoy positive opportunities for the flourishing of their moral capabilities, and that the thwarting of these capabilities entails (...) a harm that cannot be fully explained in terms of hedonistic welfare. We explore the implications of this idea for the assessment of current practices involving animals. (shrink)

These thirteen original essays, whose authors include some of the world's leading philosophers, examine themes from the work of the Cambridge philosopher G. E. Moore (1873-1958), and demonstrate his considerable continuing influence on philosophical debate. Part I bears on epistemological topics, such as skepticism about the external world, the significance of common sense, and theories of perception. Part II is devoted to themes in ethics, such as Moore's open question argument, his non-naturalism, utilitarianism, and his notion of organic unities.

Under one particular reading of it, Anscombe's 'Modern Moral Philosophy' is considered a seminal text in the revival of virtue ethics. Seen thus, Anscombe is implying that it is possible to do ethics without using concepts such as 'moral ought' or 'moral obligation', the perfect example being Aristotelian ethics. On the other hand, Anscombe claims that it is not useful at present to engage in moral philosophy since she finds that 'philosophically there is a huge gap… which needs to be (...) filled by an account of human nature, human action, …and above all of human "flourishing"' (Anscombe, 1958: 18). The gap Anscombe refers to appears where there should be a 'proof that an unjust man is a bad man'. My aim in this paper is to discuss the various ways in which Anscombe's theses can be interpreted, recalling two other philosophers for whom Aristotelian virtue ethics was also essential: P. Foot and J. McDowell. I will argue that Anscombe did not expect Aristotelian ethics to answer the problems modern ethics poses. (shrink)

It is generally assumed that humans are the only animals who can possess a concept of death. However, the ubiquity of death in nature and the evolutionary advantages that would come with an understanding of death provide two prima facie reasons for doubting this assumption. In this paper, my intention is not to defend that animals of this or that nonhuman species possess a concept of death, but rather to examine how we could go about empirically determining whether animals can (...) have a concept of death. In order to answer this question, I begin by sketching an account of concept possession that favours intensional classification rather than mere extensional discrimination. Further, I argue that the concept of death should be construed as neither binary nor universal. I then present a proposal for a set of minimal conditions that must be met to have a concept of death. I argue that having a minimal understanding of death entails first expecting a dead individual to be alive, and then grasping its non-functionality and irreversibility. Lastly, I lay out the sort of observational and experimental evidence that we should look for to determine whether animals have the capacity for a minimal comprehension of death. (shrink)

While growing empirical evidence suggests a continuity between human and non-human psychology, many philosophers still think that only humans can act and form beliefs rationally. In this paper, we challenge this claim. We first clarify the notion of rationality. We then focus on the rationality of beliefs and argue that, in the relevant sense, humans are not the only rational animals. We do so by first distinguishing between unreflective and reflective responsiveness to epistemic reasons in belief formation and revision. We (...) argue that unreflective responsiveness is clearly within the reach of many animals. We then defend that a key demonstration of reflective responsiveness would be the ability to respond to undermining defeaters. We end by presenting some empirical evidence that suggests that some animal species are capable of processing these defeaters, which would entail that even by the strictest standards, humans are not the only rational animals. (shrink)

El objetivo del presente trabajo es hacer una reseña de los conceptos fundamentales que elabora Slavoj Žižek en su libro “El sublime objeto de la ideología”. Tomaré algunas ideas centrales acerca del síntoma, la ideología y la fantasía, así como también haré algunos comentarios. Žižek nos advierte de no caer en las trampas actuales ilusorias de que vivimos en una época posideológica.

A presente pesquisa sobre uma abordagem de gênero propõe­se a analisar as trajetórias de Trabalhadores docentes, focalizando os fatores que impulsionam as mulheres a seguir a carreira na educação superior na Universidade Federal de Sergipe. O estudo de caso organizacional desenvolveu­se na Universidade Federal de Sergipe/Campus de Itabaiana­-SE, que integra 84 docentes (58 homens e 26 mulheres). Fontes utilizadas: revisão bibliográfica abordando conceitos orientadores da literatura; documentos da instituição e dados estatísticos sobre o perfil. As estatísticas de imediato descobrem a (...) permanência da segmentação e divisão sexual do trabalho. Verificamos que existem avanços pontuais, mas, no entanto, sem a ruptura de mecanismos que historicamente inviabilizaram a democratização dos espaços acadêmicos, em que as mulheres têm o papel de buscar uma maior efetivação em tais espaços. (shrink)

Este trabajo muestra cómo una modificación en el sentido del término caracter adquirido llevó a rechazar la hipótesis de la herencia de esos caracteres. Se considerará el ejemplo del experimento llevado a cabo por Weismann que fue tomado como un caso paradigmático en los libros de textos y en la bibliografía especializada para refutar esa hipótesis. Ese diseño experimental fue aceptado por la comunidad como una refutación, a pesar de que los caracteres a los que hacía referencia no cumplían con (...) ninguna de las condiciones necesarias para poder ser considerado un carácter adquirido. Así, quedó establecida la premisa de que sólo las células germinales podían heredarse fundándose lo que se conoció como la barrera de Weismann. Este caso pretende poner en consideración cómo la enseñanza y reproducción de los términos científicos y de sus indicadores puede llevar a limitar el desarrollo de las teorías. Se concluye acerca de la necesidad de reflexionar sobre la manera en que se citan y enseñan las teorías científicas a fin de evitar barreras en el desarrollo de los campos disciplinares. (shrink)

DERECHO DE RESPUESTA COMO FORMADOR DE OPINIÓN PÚBLICA: La jurisprudencia norteamericana y su relación con la argentina.

Could animals behave morally if they can’t mindread? Does morality require mindreading capacities? Moral psychologists believe mindreading is contingently involved in moral judgements. Moral philosophers argue that moral behaviour necessarily requires the possession of mindreading capacities. In this paper, I argue that, while the former may be right, the latter are mistaken. Using the example of empathy, I show that animals with no mindreading capacities could behave on the basis of emotions that possess an identifiable moral content. Therefore, at least (...) one type of moral motivation does not require mindreading. This means that, a priori, non-mindreading animals can be moral. (shrink)