The film is a copy of the real or a phantasmagoria of dreams? This alternative should be considered one of the genetic matrices of the language and theory of cinema. Using digital technology, the reference to the referent and the ontological nature of cinema as a trace of reality, they entirely vanish. The complete dematerialization of bodily qualities is a generalphenomenon of the society of the spectacle, with the dominance of the commodity form. Digital technology brings this tendency to extremes, (...) changing the ontological nature of the film. Digital technology, and now the three-dimensional, they realize a complete reversal of reality and fantasy and they change the basis of our mode of perception. The film “critic-expressive” is opposed to the phantasmagoria of the spectacle, calling for self-consciousness of the viewer. The techniques of three-dimensionality are part of a dream world, which aims to block all awareness of pain and conflict. The technique is not destiny, but dialectic, continuous contradiction, between two possible forms: the one is dominated by the will of power, the other by the idea of salvation of the phenomenon and the singularity. The three-dimensional cinema produce a magic, auratic film: what will it be a new “critic-expressive” film? (shrink)

The film is a copy of the real or a phantasmagoria of dreams? This alternative should be considered one of the genetic matrices of the language and theory of cinema. Using digital technology, the reference to the referent and the ontological nature of cinema as a trace of reality, they entirely vanish. The complete dematerialization of bodily qualities is a generalphenomenon of the society of the spectacle, with the dominance of the commodity form. Digital technology brings this tendency to extremes, (...) changing the ontological nature of the film. Digital technology, and now the three-dimensional, they realize a complete reversal of reality and fantasy and they change the basis of our mode of perception. The film “critic-expressive” is opposed to the phantasmagoria of the spectacle, calling for self-consciousness of the viewer. The techniques of three-dimensionality are part of a dream world, which aims to block all awareness of pain and conflict. The technique is not destiny, but dialectic, continuous contradiction, between two possible forms: the one is dominated by the will of power, the other by the idea of salvation of the phenomenon and the singularity. The three-dimensional cinema produce a magic, auratic film: what will it be a new “critic-expressive” film? (shrink)

Through a close examination of philosopher Leopoldo Zea's historicist phenomenology, Mario Saenz offers fresh insights into the role of Mexican intellectuals in the creation of a Latin American "philosophy of liberation". While this philosophy of liberation has been widely recognized as the most intellectual political ideology to emerge from Latin America this century, few scholars have specifically explored the Mexican roots of this intellectual movement. Saenz redresses this imbalance by placing Zea and his contemporary intellectuals firmly within the context (...) of post-revolutionary Mexico, a political and social landscape that fostered criticisms of colonial and neo-colonial structures of dependence. Saenz demonstrates how Zea's philosophy was informed by a sense of Mexico's distinctive social and cultural identity. (shrink)

Questions of boosting human potential and biomedical techniques by modifying the normal way in which the human body works. This text first explains this phenomenon then reflects on it, drawing on philosophy, bioethics, law and technology.

In this paper, we propose a unified account of conditionals inspired by Frank Ramsey. Most contemporary philosophers agree that Ramsey’s account applies to indicative conditionals only. We observe against this orthodoxy that his account covers subjunctive conditionals as well—including counterfactuals. In light of this observation, we argue that Ramsey’s account of conditionals resembles Robert Stalnaker’s possible worlds semantics supplemented by a model of belief. The resemblance suggests to reinterpret the notion of conditional degree of belief in order to overcome a (...) tension in Ramsey’s account. The result of the reinterpretation is a tenable account of conditionals that covers indicative and subjunctive as well as qualitative and probabilistic conditionals. (shrink)

O presente trabalho busca mostrar o processo de criação sob o ponto de vista da poesia mística de Rumi. Portanto, procura demonstrar como Rumi dá vida, em seus escritos, ao máximo ato vivificador, à beleza com a qual ele entende e transporta, pelas palavras, o conhecimento do ato criador divino. Trata-se, portanto, de mostrar o processo de criação pelo qual as criaturas recebem a filiação do Criador, e como esse elo primordial com a transcendência é então capaz de inspirar todo (...) movimento observado pelo místico em direção ao processo de união, que no caso de Rumi, remete ao movimento de influxo do amor. É pelo amor que as criaturas são chamadas a reconhecer, no mundo e no cosmos os atributos de Deus, dos quais elas participam por filiação. (shrink)

It is often said that television series are nowadays as good as films, or even better than them, but the philosophical inquiry into the former remains much less developed than the philosophy of film. A handful of recent books (e.g., Nannicelli 2016, Shuster 2017, Andrzejewski and Salwa 2018, Bandirali and Terrone 2021) have tried to fill the gap, but there is much work still to be done. Significant contributions to the aesthetics of television series are coming from television studies and (...) fil... (shrink)

Este artigo procura apresentar algumas considerações acerca do entrecruzamento do pensamento político de Hannah Arendt e a questão ambiental. Para tanto, o seguinte questionamento servirá de guia para a reflexão aqui pretendida: se o âmbito natural é perturbado pelas ações humanas, é razoável a crença de que a própria ação humana possa ser capaz de frear o atual cenário de catástrofe? Assim sendo, assume-se, aqui, como procedimento metodológico uma análise bibliográfica que recorre ao livro A condição humana (The human condition, (...) 1958 [2010]) e alguns ensaios da coletânea Entre o passado e o futuro (Between Past and Future, 1961 [2009]). De modo geral, busca-se desenvolver o argumento de que embora não se possa enquadrar Hannah Arendt no rol das “historiadoras das ciências”, tampouco uma “pensadora da ecologia”, é certo que ela nunca deixou de se interessar e comentar os eventos científicos de seu tempo, bem como de se preocupar com as consequências das ações humanas. Logo, os assuntos relacionados aos avanços tecnológicos e científicos constituem assuntos de primeira grandeza e importância tanto para o mundo quanto para a política. Em suma, pretende-se sustentar a hipótese de que para Hannah Arendt, a imagem adotada da natureza – ao menos desde a época moderna –, e as ações humanas cometidas a partir desta compreensão, afetam diretamente nossa existência política. (shrink)