En este texto partiremos de la conocida tensión cinematográfica entre la imagen y la narración, refiriendo a un caso concreto de cine mexicano tipológico costumbrista. Es un género que se distingue por una trama débil constituida por secuencias con un importante peso mostrativo o “descriptivo”, más que narrativo y el espectador se entretiene en el reconocimiento de los estereotipos, obteniendo un goce mimético de reconocimiento. Para abordar tal reconocimiento mimético distinguiremos entre los imaginarios literarios y los imaginarios fílmicos. Los imaginarios (...) literarios son esquemas faltos de concreción. Por el contrario, los imaginarios fílmicos no son lo absoluto una cuestión de la imaginación más o menos vaga, sino que dada su base fotográfica presentan girones de la realidad tal cual es en su apariencia. Este imaginario fílmico ya no consta de imágenes de la mera imaginación, al gusto del que se las imagina, sino que consta de fragmentos fotográficos de la apariencia real, por lo que esas imágenes de calidad fotográfica tienden a generan de inmediato aprobación o rechazo. Puede ser que se lea algo que no gusta y entonces tiende a dejarse de lado, pero es más difícil dejar de lado algo que, aunque no guste no se leyó sino se vio. Para analizar el género de narrativa débil tipologizante recurrimos a la teoría de D. Bordwell sobre la construcción de la historia combinándola con la teoría de R. Barthes acera de los núcleos, catálisis, informantes e indicios narrativos. (shrink)

La ciencia moderna ha reducido el estudio de la realidad a una sola postura mostrando una tendencia reductiva de lo real solamente exclusiva al hecho contrastable de la experiencia sensible. La propuesta es mostrar una contraparte desde una perspectiva filosófica. La filosofía contemporánea, especialmente el denominado nuevo realismo ha comenzado a problematizar esta visión única de lo real. La ontología del siglo XXI permite revalorar las nociones filosóficas de ser, existencia, realidad y cuerpo. Este artículo cuestiona críticamente los resultados científicos (...) alcanzados por una explicación de la filosofía moderna sobre el cuerpo. Una reflexión inspirada en el Cur Deus Homo de San Anselmo de Canterbury, permitirá esbozar esta alternativa crítica al entendido moderno sobre el origen de la conciencia y su corporalidad. La novedad de este pensamiento queda circunscrito al entendido ontológico medieval sobre la creatio ex nihilo, explicación que no recurre por necesidad a un reducto de lo real con sus características espacio-temporales, pues el fundamento del ser viene dado por una exterioridad de un poder creador divino, que si bien, puede no ser aceptado del todo por la filosofía y ciencia contemporánea, el nuevo realismo se ha preocupado por volver a problematizar la cuestión de Dios. (shrink)

Elite athletes are characterized by their high level of performance in sport. Since the very beginnings of sport, it has been understood that physical and physiological abilities influence the performance of athletes. Advances in scientific knowledge, especially sport psychology and neuroscience, seem to confirm this intuition and consequently it is possible to characterize elite athletes as having an extraordinary combination of physical and mental abilities. Techniques and substances that contribute to enhancing physical characteristics of athletes have also been well known (...) for ages. But it is now possible to make use of other techniques and substances that not only enhance physical abilities but also cognitive capabilities, which seem to require greater consideration given their direct impact on the athlete’s brain. In this article, we examine two such techniques, cognitive enhancers and transcranial stimulators, and highlight the potential advantages and drawbacks that applying each one may have on sport. Given the relative novelty of these enhancement techniques and substances and the absence of conclusive evidence regarding their short- and long-term effects, we deem that their use ought to be strictly governed by cautionary principles. But due to that same lack of evidence, we believe that the possibility of examining the feasibility of applying these techniques to sport should not be denied. (shrink)

ABSTRACTThe social content of affective stimuli has been proposed as having an influence on cognitive processing and behaviour. This research was aimed, therefore, at studying whether automatic exogenous attention demanded by affective pictures was related to their social value. We hypothesised that affective social pictures would capture attention to a greater extent than non-social affective stimuli. For this purpose, we recorded event-related potentials in a sample of 24 participants engaged in a digit categorisation task. Distracters were affective pictures varying in (...) social content, in addition to affective valence and arousal, which appeared in the background during the task. Our data revealed that pictures depicting high social content captured greater automatic attention than other pictures, as reflected by the greater amplitude and shorter latency of anterior P2, and anterior and posterior N2 components of the ERPs. In addition, social content also provoked greater allocation of processing resour... (shrink)

Closed-loop administration of propofol for the control of hypnosis in anesthesia has evidenced an outperformance when comparing it with manual administration in terms of drug consumption and post-operative recovery of patients. Unlike other systems, the success of this strategy lies on the availability of a feedback variable capable of quantifying the current hypnotic state of the patient. However, the appearance of anomalies during the anesthetic process may result in inaccurate actions of the automatic controller. These anomalies may come from the (...) monitors, the syringe pumps, the actions of the surgeon or even from alterations in patients. This could produce adverse side effects that can affect the patient postoperative and reduce the safety of the patient in the operating room. Then, the use of anomaly detection techniques plays a significant role to avoid this undesirable situations. This work assesses different one-class intelligent techniques to detect anomalies in patients undergoing general anesthesia. Due to the difficulty of obtaining real data from anomaly situations, artificial outliers are generated to check the performance of each classifier. The final model presents successful performance. (shrink)

El criterio estético / Eugenio Trías / - Presente y futuro del arte / José Jiménez / - Hacia una estética de las nuevas tecnologías / José Luis Molinuevo / - La diferencia estética en al fuente y otras distracciones de Mr. Mutt / Simón Marchán Fiz / - El estatuto de la crítica de arte / Román de la Calle / - De la tabula rasa al negro infinito. Arte y absoluto / Fernando R. de la (...) Flor / - El tiempo suspendido. Fotografía y narración / Alberto Martín Expósito / - Diálogo de libros / Fernando R. Lafuente / - Experiencias morales en literatura / María Teresa López de la Vieja / - La experiencia de la poesía o el lirismo en su historicidad / - Sobre la inutilidad de la poesía / César Antonio Molina. (shrink)

The holist and inferential condition that, according with Davidson, defines imperatively the cognitive process collides with the existence of the intuitive believes, that is to say, those believes that are of themselves the fundamentum and that, thus, don’t require other belief for their grounds. Nonetheless, if, for one part, is adopted the way in which Peirce understands the term “intuition” and, for another, is accepted the extension of inferential holism, is allowed, even so, to admit the existence of intuitive believes, (...) without transgressing the Davidsonian prohibition. Indeed, if the inferential basis of supported belief is located beyond of the individual agency of who support that belief, the very belief would count as intuition of the agent and would respect the Davidsonian holist constraint, in the sense that such a belief would be a belief whose basis would be in another belief, even when that belief was one that was in an external agency. The key for to accomplish this purpose is to sustain a reasoning extended theory —analogous to the Clark and Chalmers (1998) extended theory of mind—, by virtue of which the agent can obtain, from an intuitive assistant —as alien inferential authorship — what he cannot get by his own inferential authorship. Precisely, in this work we will expound a Davidsonian type of linguistic interaction model —namely, dialogic and triangular—, for cognitions persuasive transfer, by means of one’s reasons (the assistant) become other’s intuitions (the assisted). (shrink)

En este texto discutiremos la tensión entre los nuevos medios y la narratología ocupándonos especialmente del caso del cine. Nuestra tesis será que los nuevos medios tienen que ver básicamente con la ilusión y solo derivadamente con la imaginación; por el contrario, el campo de la literatura tiene que ver solo con la imaginación y no con la ilusión. Si esto es así, algo debe estar mal con la pretensión de la narratología de ser el esquema teórico adecuado para entender (...) cualquier fenómeno cultural, especialmente el de losnuevos medios. Insistiremos, por ello, en la distinción entre ilusión e imaginación. De hecho, los teóricos literarios no lo consideran. Se suele decir que el cine es ficción, y de hecho la literatura es ficción, pero el cine es mucho más que la ficción, es una ilusión.Here we will discuss the tension between the new mass media and narratology and the case in study will be cinema. Our thesis would be that new mass media have to do basically with illusion and only derivatively with imagination; on the contrary, the field of literature has to do only with imagination, not with illusion at all. If it is so, something must be wrong with the pretence of narratology to be the adequate theoretical schema in order to understand every cultural phenomenon, especially in the case of new mass media. We have to insist on the distinction between illusion and imagination. In fact, literary theoreticians do mostly not consider it. It is usually said of cinema that it is fiction, and indeed literature is fiction, but cinema is much more than fiction, it is illusion. (shrink)