En opinión de Francisco Puy, el jurista debe ser una persona que agarre decidido una experiencia jurídica siempre conflictiva, la describa, la valores y ofrezca una solución para limpiarla, pacificando los problemas que presenta de apropiación, transmisión, reparto, violación y reposición de derechos. Una experiencia jurídica se inicia cuando un individuo le dice a otro que una cosa es suya y el otro o los otros asienten o consienten en que es suya. Una experiencia jurídica crece, tornándose problemática, cuando (...) un individuo o dos o todo el grupo rechazan la declaración de uno o varios que dijeron que algo es suyo, que tiene un derecho de uso, de disfrute o de propiedad; un interés legítimo o cualquier otra opción jurídica. El Derecho es la misma cosa justa, lo justo materializado en el caso concreto real y práctico; y no lo justo legal ni lo justo diseñado en grandes teorías. Este enfoque teñido de realismo abre un amplio horizonte filosófico-jurídico que Puy ha recorrido en muchas direcciones, ensayando nuevas soluciones para cuestiones viejas. Catedrático ce Filosofía del Derecho de la Universidad de Santiago de Compostela durante 45 años, Francisco Puy ha dedicado una buena parte de su pensamiento a desarrollar una forma de estudio y comprensión de la experiencia jurídica, la prudencial, diferente de la usualmente utilizada en las universidades públicas. Su camino lo ha conducido por las sendas de la Tópica, la Retórica y la Dialéctica clásicas, que ha actualizado en diálogo con la moderna teoría de la argumentación jurídica. En este libro, los colegas, amigos y discípulos del maestro dialogan con él y entre ellos, transitando un panorama temático tan complejo como sugestivo. (shrink)

1. Introducción a la ciencia del derecho natural.

Guy Rohrbaugh and Allan Hazlett have provided two arguments against the thesis that musical works are types. In short, they assume that, according to our modal talk and intuitions, musical works are modally flexible entities; since types are modally inflexible entities, musical works are not types. I argue that Rohrbaugh’s and Hazlett’s arguments fail and that the type/token theorist can preserve the truth of our modal claims and intuitions even if types are modally inflexible entities. First, I consider two alternatives (...) for the type/token theorist proposed in recent literature about the topic: the created types’ solution and the created abstract objects’ solution. I argue that none of them is attractive for the type/token theorist because they do not preserve the theoretical advantages of type/token theories to explain musical works’ repeatable nature. Then, I focus on the arguments’ common premise that musical works are modally flexible entities. A deeper analysis of musical practice will show that this premise is not true: our modal claims do not imply that musical works could have had different intrinsic but, instead, extrinsic properties. Finally, I show how the nested types theory may offer a satisfactory explanation of this fact and how it captures the truth of our modal talk about musical works. (shrink)

Este artículo aborda el papel que juega la “admiración” en la traducción heideggeriana de tres pasajes de la Metafísica de Aristóteles. Con base en el volumen 62 de la Gesamtausgabe, se muestra que la “admiración” se relaciona con tres temas fundamentales, a saber: el mundo, la vida y la comprensión. En primer lugar, analizo el tema del mundo compartido y del mundo circundante. En segundo lugar, describo el tema de la vida, la cual es interpretada como “premura insoslayable” y “clara (...) permanencia tranquila”. En tercer lugar, desarrollo el tema de la comprensión en tres fases: “epistémica”, “propia” y “visible”. Estos temas serán retomados en trabajos ulteriores como Ser y tiempo. Por tal motivo, las lecciones de 1922 son valiosas para conocer el itinerario filosófico de Heidegger en los años veinte. Finalmente, se intenta mostrar que la triple traducción del vocablo griego θαυμάζειν realizada por Heidegger, obedece a un criterio específico de interpretación fenomenológica acorde a los temas mencionados. (shrink)

_Winner of the Fabian Dorsch ESA Essay Prize._ Julian Dodd defends the view that, in musical work-performance practice, interpretive authenticity is a more fundamental value than score compliance authenticity. According to him, compliance with a work’s score can be sacrificed in cases where it conflicts with interpretative authenticity. Stephen Davies and Andrew Kania reject this view, arguing that, if a performer intentionally departs from a work’s score, she is not properly instantiating that work and hence not producing an authentic performance (...) of it. I argue that this objection fails. A detailed analysis of work-performance practice reveals, first, that the normative scope of interpretive authenticity encompasses the practice of composing musical versions and that, second, when performers sacrifice score compliance to maximize interpretive authenticity, they are performing the target work by means of performing a version of it. By means of the nested types theory, I then show how performances produced in this way can be properly formed instances, and hence authentic performances, of their target work. (shrink)

Um livro que abalará todas as suas crenças – Martim Vasques da Cunha Com o rigor de um scholar e a força argumentativa de um polemista, Francisco Razzo expõe uma tese perturbadora- esquerda, direita ou centro, somos todos responsáveis pelas jaulas voluntárias de nossas ideologias. A imaginação totalitária é a estreia promissora de um escritor que quer nos perturbar sem fazer nenhuma concessão. E, sobretudo, o relato de um exorcismo pessoal de alguém que também quer expulsar os demônios que (...) infestam a atual sociedade brasileira – especialmente quando esta crê que a política é a última esperança que nos resta. (shrink)

To research teachers’ priorities on what was to be taught and learned during the COVID-19 lockdown, we asked Spanish Primary and Secondary teachers to choose and describe the activity they preferred among those carried out with their students during the pandemic. Our interest was to investigate what really happened in the classrooms, the type of learning favored by the practices, and the agreement between the teacher’s goals and their teaching We obtained 272 activities that we analyzed according to the proposed (...) goals, the types of learning worked, and the kind of teaching promoted. Results showed that most teachers proposed content-centered activities, oriented above all to verbal learning. There were clear differences between the proposed goals, partly student-centered, and what was really taught, essentially content-centered. We obtained two teaching profiles, one reproductive and the other constructive. (shrink)

This paper discusses methodological issues of two recent experiments conducted by Christopher Bartel, and Elzė S. Mikalonytė and Vilius Dranseika, respectively, about the repeatability and individuation of musical works. I argue, first, that the reliability of their results about people’s intuitions in our everyday musical practices can be questioned due to the use of descriptions instead of musical stimuli of the works and performances involved in the cases tested. This procedure is prone to place participants in an epistemic situation in (...) which their mental capacities for their everyday judgments are not deployed and makes their judgments more vulnerable to the problem of “filling in”. I provide empirical data of an experiment that implements musical stimuli, obtaining large effect sizes regarding the results obtained by Bartel, Mikalonytė and Dranseika. In addition, I argue that the results of three scenarios of the experiment conducted by Mikalonytė and Dranseika are suspicious of being influenced by presentation effects that favor the contextualist intuition that the composer is a relevant parameter in work-individuation. Formal and superficial aspects of the description of their cases would cause these effects. I supply empirical data of an experiment that neutralizes those effects, obtaining moderate and large effect sizes regarding the results of Mikalonytė and Dranseika. (shrink)

The determination thesis is the idea that art-ontological facts are determined by the folk ontological conception of artworks embedded in our artistic practices. From this thesis, descriptivism in the metaontology of art has been often characterized as the view that the task of art-ontology is to describe that folk conception. Amie Thomasson and Andrew Kania provide two paradigmatic accounts within this path. In this paper, I argue that this descriptivist approach is ungrounded because the determination thesis suffers from presupposition failure. (...) It presupposes that, whenever there is a practice of producing and appreciating artworks, there is also a folk ontological conception about those artworks. This presupposition, an implicit premise in Thomasson's and Kania's accounts, will be revealed as false, paying attention to the way artistic practices have evolved. I will conclude that descriptivism should abandon this approach and embrace metaontological realism if it aims to be a plausible view. (shrink)

Bravo, F. La dialéctica en Teilhard de Chardin.--Carías, R. El conocimiento de Dios en Max Scheler.--Cappelletti, A. J. El fuego y el logos en la filosofía de Heráclito.--Li Carrillo, V. Estructuralismo y antihumanismo.--Rosales, A. Martín Heidegger y la crisis de la filosofía transcendental.--Rosales, A. La crítica de Heidegger al idealismo moderno.--Rosales, A. El giro del pensamiento de Heidegger.

Algebraic quantum field theory (AQFT) puts forward three ``causal axioms'' that aim to characterize the theory as one that implements relativistic causation: the spectrum condition, microcausality, and primitive causality. In this paper, I aim to show, in a minimally technical way, that none of them fully explains the notion of causation appropriate for AQFT because they only capture some of the desiderata for relativistic causation I state or because it is often unclear how each axiom implements its respective desideratum. After (...) this diagnostic, I will show that a fourth condition, local primitive causality (LPC), fully characterizes relativistic causation in the sense of fulfilling all the relevant desiderata. However, it only encompasses the virtues of the other axioms because it is implied by them, as I will show from a construction by Haag and Schroer (1962). Since the conjunction of the three causal axioms implies LPC and other important results in QFT that LPC does not imply, and since LPC helps clarify some of the shortcomings of the three axioms, I advocate for a holistic interpretation of how the axioms characterize the causal structure of AQFT against the strategy in the literature to rivalize the axioms and privilege one among them. (shrink)

The interest in crossmodal correspondences, including those involving sounds and involving tastes, has experienced rapid growth in recent years. However, the mechanisms underlying these correspondences are not well understood. In the present study (N = 302), we used an associative learning paradigm, based on previous literature using simple sounds with no consensual taste associations (i.e., square and triangle wave sounds at 200 Hz) and taste words (i.e., sweet and bitter), to test the influence of two potential mechanisms in establishing sound–taste (...) correspondences and investigate whether either learning mechanism could give rise to new and long‐lasting associations. Specifically, we examined an emotional mediation account (i.e., using sad and happy emoji facial expressions) and a transitive path (i.e., sound‐taste correspondence being mediated by color, using red and black colored squares). The results revealed that the associative learning paradigm mapping the triangle wave tone with a happy emoji facial expression induced a novel crossmodal correspondence between this sound and the word sweet. Importantly, we found that this novel association was still present two months after the experimental learning paradigm. None of the other mappings, emotional or transitive, gave rise to any significant associations between sound and taste. These findings provide evidence that new crossmodal correspondences between sounds and tastes can be created by leveraging the affective connection between both dimensions, helping elucidate the mechanisms underlying these associations. Moreover, these findings reveal that these associations can last for several weeks after the experimental session through which they were induced. (shrink)

Although there are those who understand that the debates about the morality of the interruption of pregnancy are newly born, when analyzing some passages of the classical sources, the antiquity of such discussions is revealed. Likewise, as the legal, political and moral conclusions in such respects are often based on a metaphysical, anthropological, theological or biological position, it is necessary to enter these fields in order to fully explore the different edges of such a complicated object. In this way, this (...) work aims to show the terminological pitfalls that the words embryon and kyema generate for the understanding of Aristotelian embryology, which is the basis for understanding his position on abortion, as well as the scholastic debates that use this as a source. We aspire to analyze the various appearances of both terms in various works of Aristotle - fundamentally De generatione animalium and De partibus animalium - and show how there is no criterion to distinguish them in most contexts. (shrink)

I have recently defended two ideas (Puy 2022a). The first is that our modal claims about musical works do not imply that they are modally flexible entities, i.e.

Resumo No Manifesto surrealista, de 1924, Breton explicita o produto da atividade surrealista como uma “luz de imagem”, gerado pela aproximação involuntária de duas realidades distantes. Essa estrutura dupla da imagem surrealista tem um caráter disruptivo, que rompe com a nossa percepção da realidade cotidiana. Com isso, abre-se a possibilidade de um espaço para a crítica social e histórica, bem como para uma intervenção estético-política justamente em uma sociedade na qual as formas tradicionais de crítica parecem estar neutralizadas. Essa experiência (...) surrealista e esse espaço aberto por ela Walter Benjamin caracteriza respectivamente com a fórmula “iluminação profana” e “espaço de imagem”. Ambos apresentam uma grande semelhança com alguns pontos e consequências, em seus conceitos, tanto de “imagem do pensamento”, como de “imagem dialética”, sobretudo na medida em que esses conceitos também são formulados em meio à crise cultural da sociedade europeia, nos 1920, e buscam uma saída revolucionária para a mesma. Trata-se de investigar aqui, por meio de uma análise comparativa dessas concepções de imagem, até onde vai a influência e a relevância do surrealismo para o pensamento figurativo-dialético de Benjamin e para sua compreensão da história.In the Surrealistic manifest from 1924, Andre Breton explains the product of surrealistic action as a “light of image” resulting from an arbitrary approach of two distant realities. This double structure of surrealistic image has a disrupting character that breaks our common perception of reality. Thus can open a space for social and historical criticism as well as for an aesthetical-political intervention in a society where traditional forms of criticism seem to be neutralized. Walter Benjamin defines this surrealistic experience and its opened space respectively with the expressions “profane illumination” and “image space”. Both have similarities with Benjamin’s ideas of “thought image” and “dialectical image”, especially because they were elaborated amidst the cultural european crisis in the 1920ies looking to find a revolutionary way out of it. Through a comparative analysis of these notions of image, this paper proposes to investigate the influence and the relevance of surrealism for Benjamin’s dialectical-figural way of thinking and his comprehension of history. (shrink)

This paper aims to shed light on the question of whether musical appropriation is ethically unobjectionable. James Young (2021) has recently advanced a position on this topic, according to which, whereas the appropriation of a whole work is uncontroversially non-permissible, the appropriation of parts of a work is usually permissible. He grounds this view in ontological matters and in a criterion of fair use in terms of economic harm to the source work’s composer. I argue that, pace Young, we cannot (...) make general ethical claims about musical appropriation because their truth is sensitive to the musical genres that the involved works belong to. First, I clarify the scope of musical appropriation by means of considerations on musical practices and ontology. This will reveal that versions and covers are not genuine cases of musical appropriation. In a second step, I consider a specific kind of musical appropriation: using the first measures of a source work as the first measures of a secondary work. I show that, even if we assume Young’s ontological framework and his criterion on fair use, the instances of this kind of musical appropriation count as fair or unfair depending on the musical genres of the involved works due to their normative implications for the composition and appreciation of those works. (shrink)

Impure Eliminativism about Categories is the idea that ontological categories are not wholly eliminable insofar as they have epistemic value to understand the nature of ordinary and scientific objects. From the perspective of Impure Eliminativism, different criticisms have been addressed to substantialist approaches in metaphysics and, in particular, to John Heil’s substance-mode two-category ontology. The aim of this paper is to contribute to this critical project by extending its scope to C. B. Martin’s substantialism. The thesis I defend is that (...) Martin’s substratum-trope two-category ontology satisfies the elimination criterion of Impure Eliminativism for ontological categories because either it is inconsistent or else it supplies a non-exhaustive and non-exclusive categorization of ordinary and scientific objects and their properties. First, I introduce Impure Eliminativism and its novel elimination criterion for ontological categories, and I survey recent criticisms of substantialism from that perspective. Second, I show that nothing satisfies Martin’s definition of substratum in a way that is consistent with Martin’s view on tropes. Third, I note that the attempts to avoid the inconsistency make the categorization supplied by Martin’s ontology either non-exhaustive or non-exclusive. I then conclude that Martin’s substratum-trope categorial system should be eliminated in accordance with the criterion of categorial elimination of Impure Eliminativism. (shrink)

La belleza en Charles S. Peirce: Origen y alcance de sus ideas estéticas is a clearly written and well-structured book on Peirce’s aesthetics. Barrena’s thesis is that aesthetics, conceived as a normative science, is central to Peirce’s philosophical system, and especially to his pragmaticism. The goal of the book is twofold: it aims to offer an analysis of the biographical and theoretical aspects of Peirce’s interest in aesthetics and the arts and purports to elaborate a pragmaticist aesthetics. Both objectives can (...) be said to be well achieved. The book is divided into four chapters. The first is devoted to... (shrink)