The increasing presence of women, especially university women, in risky alcohol consumption such as Binge Drinking, which is associated with gender-specific biopsychosocial problems, makes it necessary to analyze the variables underlying BD in order to adjust possible interventions more in line with their reality. The motives and expectancies of this pattern of consumption, as well as the consequences derived from it, are some of the variables that are shown to have the greatest weight in the prediction of BD. In the (...) present study we analyze, on the one hand, the performance of these variables among college women with alcohol use, and on the other hand, which of these variables allow us to classify BD. A total of 501 female university consumers of alcohol were assessed. Specifically, they completed a self-report of alcohol consumption, the Expectancy Questionnaire, the Drinking Motives Questionnaire and the Alcohol Consumption Consequences Evaluation. BD female students scored significantly higher on these instruments, except for compliance motives. The logistic regression analysis carried out to estimate the probability of performing BD using the social and conformity motives, the ACCE and positive expectancies correctly estimated have a 3.55-fold increase in the probability of having BD, compared to women classified as low risk by the ACCE. On the other hand, women classified as moderate risk by the ACCE have a 4.77-fold increase in the probability of having BD. In the case of social motives and positive expectancies, their increase multiplies by 1.165 and 1.024, respectively, the probability of having BD. The results of this study highlight the importance of adapting preventive measures to the consequences experienced by BD university students, especially in relation to the social motives and positive expectancies that modulate decision-making when engaging in this pattern of consumption. (shrink)

Background and ObjectiveThe outbreak of Coronavirus Disease 2019 has raised increased challenges for older adults’ personal growth in diverse cultural settings. The aim of this study was to analyze negative emotions and their role on older adults’ self-growth in Mexico, Italy, Portugal, and Spain, during the COVID-19 pandemic. For this purpose, a cross-national qualitative research was carried out.MethodsData were collected from 338 community-dwelling participants aged 65 years and older, using a semi-structured interview protocol. Older adults were asked about negative emotions (...) that significantly contribute to their self-growth during the COVID-19 pandemic. Content analysis was used to identify key themes.ResultsSeven main negative emotions significantly contributed to seven themes of self-growth, across the samples: sharing difficult experiences with others, supportive partner, spiritual practices, engagement with life, generativity, volunteering activities, and intimacy and sexual satisfaction. Sharing difficult experiences with others was most pertinent to Mexican and to Italian participants, and a supportive partner to Portuguese, and to Spanish participants.ConclusionThe findings of this study indicate that negative emotions during the COVID-19 pandemic contributed to their older adults’ self-growth. This study highlighted the cultural diversity of experiences during the pandemics and underlined the upside of negative emotions and its relation to older adults’ self-growth during this period. (shrink)

La presente investigación aborda los distintos modelos urbanísticos que propuso Le Corbusier a lo largo de toda su trayectoria. Estos modelos principales, cuantificándose hasta cuatro, además de otros de menor entidad, muestran la evolución en la conceptualización y las características que propuso para la ciudad del siglo XX. Su aplicación a las diferentes ciudades, tanto interiores como litorales, evidencian tanto la diversidad de su urbanismo como la adaptabilidad de los mencionados modelos a casos reales. De este modo, se procura superar (...) las visiones parciales que habitualmente se hacen sobre toda su obra urbana. (shrink)

Online data collection methods are expanding the ease and access of developmental research for researchers and participants alike. While its popularity among developmental scientists has soared during the COVID-19 pandemic, its potential goes beyond just a means for safe, socially distanced data collection. In particular, advances in video conferencing software has enabled researchers to engage in face-to-face interactions with participants from nearly any location at any time. Due to the novelty of these methods, however, many researchers still remain uncertain about (...) the differences in available approaches as well as the validity of online methods more broadly. In this article, we aim to address both issues with a focus on moderated data collected using video-conferencing software. First, we review existing approaches for designing and executing moderated online studies with young children. We also present concrete examples of studies that implemented choice and verbal measures and looking time across both in-person and online moderated data collection methods. Direct comparison of the two methods within each study as well as a meta-analysis of all studies suggest that the results from the two methods are comparable, providing empirical support for the validity of moderated online data collection. Finally, we discuss current limitations of online data collection and possible solutions, as well as its potential to increase the accessibility, diversity, and replicability of developmental science. (shrink)

If Unamuno had been able to choose how to be remembered, he would have wanted him to be a poet. This book wants to do justice to that happy possibility. But above all because Unamuno was a poet in the highest sense: he was while writing the same essay as a novel, or theater, letter or verse, and he was also a poet when he passionately lived all the facets of his intense existence. His intellectual work was poetic and his (...) personal relationships, as well as his political activity, also responded to that peculiar Unamunian aesthetic in which the vital horizon is inescapably confused with the tasks of thought." --Translated from back cover. (shrink)

Creative force or creative shaping? This unprecedented effort to plumb the workings of the ontopoiesis of life by disentangling its primordial forces and shaping devices as they enter into the originary matrixes of life yields fascinating insights. Prepared by the investigation of the first two matrixes (the `womb of life' and `sharing-in-life', Analecta Husserliana Volume 74) the present collection of essays focuses upon the third and crowning creative matrix, Imaginatio Creatrix here proves itself to be the source and driving force (...) which brings us to the origins of the human mind - human life. Studies by: Elof Axel Carlson, A-T. Tymieniecka, N. Milkov, Eldon C. Wait, K. Rokstad, M. Golaszewska, M. Küle, W. Kim Rogers, Piotr Mróz, R. Pinilla Burgos, A. Carrillo Canán, G.R. Ronsivalle, J.E. Smith, A. Pawliszyn, A. Rizzacasa, L. Galzigna and M. Galzigna, Jiro Watanabe, M. Jakubczak, K. Tarnowski, M. Durst, W. Pawliszyn, R.A. Kurenkova, Carmen Cozma, E. Supinska-Polit, I.S. Fiut, Gerald Nyenhuis, Osvaldo Rossi, R.D. Sweeney, and D. Ulicka. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

La mentoría como programa de formación en el inicio de la vida profesional del docente principiante se presenta como una oportunidad para la mejora de la calidad de las instituciones educativas y de sus agentes. Al mismo tiempo, revierte sobre la comunidad y el territorio donde se ubica. En contextos reconocidos como vulnerables se necesitan agentes educativos vocacionales y con un alto nivel de resiliencia, y con una meta clara: formar a personas plenas que contribuyan con su sentir, ser y (...) hacer al desarrollo de la comunidad en la que habitan. (shrink)

The problem of fair machine learning has drawn much attention over the last few years and the bulk of offered solutions are, in principle, empirical. However, algorithmic fairness also raises important conceptual issues that would fail to be addressed if one relies entirely on empirical considerations. Herein, I will argue that the current debate has developed an empirical framework that has brought important contributions to the development of algorithmic decision-making, such as new techniques to discover and prevent discrimination, additional assessment (...) criteria, and analyses of the interaction between fairness and predictive accuracy. However, the same framework has also suggested higher-order issues regarding the translation of fairness into metrics and quantifiable trade-offs. Although the tools which have been developed so far are essential to address discrimination encoded in data and algorithms, their integration into society elicits key questions such as: What kind of assumptions and decisions underlies the empirical framework? How do the results of the empirical approach penetrate public debate? What kind of reflection and deliberation should stakeholders have over available fairness metrics? I will outline the empirical approach to fair machine learning, i.e. how the problem is framed and addressed, and suggest that there are important non-empirical issues that should be tackled. While this work will focus on the problem of algorithmic fairness, the lesson can extend to other conceptual problems in the analysis of algorithmic decision-making such as privacy and explainability. (shrink)

As we increasingly delegate decision-making to algorithms, whether directly or indirectly, important questions emerge in circumstances where those decisions have direct consequences for individual rights and personal opportunities, as well as for the collective good. A key problem for policymakers is that the social implications of these new methods can only be grasped if there is an adequate comprehension of their general technical underpinnings. The discussion here focuses primarily on the case of enforcement decisions in the criminal justice system, but (...) draws on similar situations emerging from other algorithms utilised in controlling access to opportunities, to explain how machine learning works and, as a result, how decisions are made by modern intelligent algorithms or 'classifiers'. It examines the key aspects of the performance of classifiers, including how classifiers learn, the fact that they operate on the basis of correlation rather than causation, and that the term 'bias' in machine learning has a different meaning to common usage. An example of a real world 'classifier', the Harm Assessment Risk Tool (HART), is examined, through identification of its technical features: the classification method, the training data and the test data, the features and the labels, validation and performance measures. Four normative benchmarks are then considered by reference to HART: (a) prediction accuracy (b) fairness and equality before the law (c) transparency and accountability (d) informational privacy and freedom of expression, in order to demonstrate how its technical features have important normative dimensions that bear directly on the extent to which the system can be regarded as a viable and legitimate support for, or even alternative to, existing human decision-makers. (shrink)

Este artículo se construye en el marco del proyecto de investigación Democracia, igualdad y desacuerdo: conceptos teóricos-metodológicos de Jacques Rancière para pensar la educación en el mundo contemporáneo. El objetivo del proyecto fue la exploración de conceptos como democracia, igualdad y desacuerdo para pensar los sujetos y las realidades educativas desde las lógicas políticas contemporáneas. Como desdoblamiento de la investigación, este artículo explora algunas premisas de Jacques Rancière que permiten pensar las potencialidades políticas de la infancia a partir del reconocimiento (...) de la palabra y del tiempo infantil como formas de experiencia comunitaria. La perspectiva metodológica asume una escritura que elimina las distancias entre los discursos de los filósofos y las voces de las niñas y los niños para afirmar la potencia que tienen sus palabras al momento de pensar un problema filosófico. En este ejercicio de escritura y lectura no jerárquicas se puede apreciar que las palabras de la infancia no son el reflejo, la expresión ni el símbolo de una realidad teórica más elevada, sino que funcionan como condición de posibilidad para que el pensamiento no se detenga. Precisamente, no se busca escribir sobre la infancia, sino con la infancia. No se intenta hallar la verdad de la infancia, sino aprovechar la potencia de sus voces para acorralar al sentido común. De tal forma, se establece la relación entre conflicto político, estatuto de la palabra, infancia e igualdad, lo cual indica la capacidad de la infancia para renovar el sentido de los conceptos sobre los que se fundamenta la sociedad. Por último, se expone que la infancia es una forma de subjetividad que experimenta la temporalidad a partir de la afirmación de intensidades signadas por la curiosidad y la creatividad. Por esto, se constituye como una forma de experiencia política que es capaz de inventar temporalidades múltiples que subvierten el orden de la dominación. (shrink)

Previous studies making use of indirect processing measures have shown that perceptual grouping can occur outside the focus of attention. However, no previous study has examined the possibility of subliminal processing of perceptual grouping. The present work steps forward in the study of perceptual organization, reporting direct evidence of subliminal processing of Gestalt patterns. In two masked priming experiments, Gestalt patterns grouped by proximity or similarity that induced either a horizontal or vertical global orientation of the stimuli were presented as (...) masked primes and followed by visible targets that could be congruent or incongruent with the orientation of the primes. The results showed a reliable priming effect in the complete absence of prime awareness for both proximity and similarity grouping principles. These findings suggest that a phenomenal report of the Gestalt pattern is not mandatory to observe an effect on the response based on the global properties of Gestalt stimuli. (shrink)

En este trabajo se estudia la concepción escotista del universal entendido como universallógico y accidente intencional, cuya función cognitiva se entiende como modo de aprehensión oconcepción de la esencia o naturaleza. El artículo se concentra en analizar las cuestiones 4 y 5 del comentario de Duns Escoto a la Isagoge. Se subraya la relación de los análisis escotistas con lateoría aviceniana del triple estatuto de la esencia sobre el telón de fondo de la teoría boeciana de los universales. Al final (...) del artículo se presenta brevemente el momento ontológico del universal tal comose puede ver en la teoría de la naturaleza común. (shrink)

Are we ever morally permitted to do what is morally wrong? It seems intuitive that we are, but evidence for dissociations among judgment of permissibility and wrongness are relatively scarce. Across 4 experiments (N = 1,438), we show that people judge that some behaviors can be morally wrong and permissible. The dissociations arise because these judgments track different morally relevant aspects of everyday moral encounters. Judgments of individual rights predicted permissibility but not wrongness, while character assessment predicted wrongness but not (...) permissibility. These findings suggest a picture in which moral evaluation is granular enough to express reasoning about different types of normative considerations, notably the possibility that people can exercise their rights in morally problematic ways. (shrink)

Despite the recent attention given to moral character in moral psychology and moral philosophy, there is little evidence on how the folk concept of character is structured. Virtue ethics literature...

Os nomes próprios são termos singulares que intuitivamente indicam os objectos do discurso ou pensamento. Alguns nomes falham na sua função de referir, sem que, aparentemente, deixem de desempenhar um papel representacional. Isso é paradoxal: Por um lado, os objectos referidos deveriam fazer parte de uma caracterização correcta dos nomes próprios. Por outro lado, o significado das frases que incorporam nomes vácuos sugere que tais objectos são extrínsecos aos pensamentos transmitidos. Isto é o problema que se levanta com a existência (...) de representações vácuas. Este artigo apresentará o problema pela perspectiva dada pelo estado da arte corrente. (shrink)

This paper reflects on the notion and structural components of two concepts: the human condition and human nature. Likewise, it is proposed that both concepts should be included in the basic themes not only in the field of Educational Philosophy, but also in all disciplines where the human being occupies a privileged place. Human condition is understood as a state of subjection to everything with which human beings interact and represents the starting point to ascend to three natures that correspond (...) to human beings. Hegel emphasizes two natures of man. The first is characterized by having a biological structure governed by instincts. The second is culture and to ascend to it requires processes of intellection that can be objectified through consciousness. The third human nature proposed in this paper is rooted in Ernst Bloch’s principle of hope. It is materialized by human actions tending to the construction of the future from the discovery of what is not-yet-conscious that, when identified, is achieved through actions. (shrink)

Through a convenience sample of 260 employees, the study shows how employees’ perceptions about corporate citizenship (CC) predict their affective commitment. The study was carried out in Portugal, a high in-group and low societal collectivistic culture. Maignan et al.’s (1999, Journal of the Academy of Marketing Science27(4), 455–469) construct, including economic, legal, ethical, and discretionary responsibilities was used. The main findings are: (a) contrary to what has been presumed in the literature, the discretionary dimension includes two factors: CC toward employees (...) and toward community; (b) perceptions of CC explain 35% of unique variance of affective commitment; (c) the best predictors are perceptions of economic and legal CC and, mainly, perceptions of discretionary CC toward employees; (d) the perceptions of discretionary CC toward employees are significantly better predictors of affective commitment than are perceptions of economic, ethical, and discretionary CC toward the community; (e) perceived inconsistency of the several CC dimensions is detrimental to employees’ affective commitment. The study questions the four-dimensional model of the CC construct as operationalized by Maignan et al., suggests that culture should be included as a moderating variable in future research, and stresses that affective commitment may decrease when employees perceive that their organizations act upon the several areas of CC inconsistently. (shrink)

Assisted reproduction often involves biological contributions by third parties such as egg/sperm donors, mitochondrial DNA donors, and surrogate mothers. However, these arrangements are also characterised by a biological relationship between the child and at least one intending parent. For example, one or both intending parents might use their own eggs/sperm in surrogacy, or an intending mother might conceive using donor sperm or gestate a donor embryo. What happens when this relationship is absent, as in the case of 'double‐donor surrogacy' arrangements (...) (DDS)? Here, a child is conceived using both donor eggs and sperm, carried by a surrogate, and raised by the commissioning parents. In this paper, I critically examine proposals to allow DDS in the United Kingdom, and the intentionalist justification for treating this practice distinctly (morally and legally speaking) from private adoption. I argue that the intentionalist approach cannot plausibly justify such a distinction and that other approaches to moral parenthood are also unlikely to succeed. (shrink)

8 March, now known as International Women’s Day, is a day for feminist claims where demonstrations are organized in over 150 countries, with the participation of millions of women all around the world. These demonstrations can be viewed as collective rituals and thus focus attention on the processes that facilitate different psychosocial effects. This work aims to explore the mechanisms involved in participation in the demonstrations of 8 March 2020, collective and ritualized feminist actions, and their correlates associated with personal (...) well-being and collective well-being, collective efficacy and collective growth, and behavioral intention to support the fight for women’s rights. To this end, a cross-cultural study was conducted with the participation of 2,854 people from countries in Latin America and Europe, with a retrospective correlational cross-sectional design and a convenience sample. Participants were divided between demonstration participants and non-demonstrators or followers who monitored participants through the media and social networks. Compared with non-demonstrators and with males, female and non-binary gender respondents had greater scores in mechanisms and criterion variables. Further random-effects model meta-analyses revealed that the perceived emotional synchrony was consistently associated with more proximal mechanisms, as well as with criterion variables. Finally, sequential moderation analyses showed that proposed mechanisms successfully mediated the effects of participation on every criterion variable. These results indicate that participation in 8M marches and demonstrations can be analyzed through the literature on collective rituals. As such, collective participation implies positive outcomes both individually and collectively, which are further reinforced through key psychological mechanisms, in line with a Durkheimian approach to collective rituals. (shrink)

In the intellectual scene of 19th century Colombia, Soledad Acosta de Samper stands out for pioneering the recognition of the significance of women for society. This purpose can be found in her work as a journalist as well as in her essays and literary works. Thus, the aim of the article is to analyze from the standpoint of social criticism how are configured the female characters in the works Dolores: cuadros de la vida de una mujer y Teresa (...) la limeña: páginas de la vida de una peruana. Based on the analysis of these novels, the article seeks to show how she gives voice to the main characters of her work, thus looking into the intimacy of female thinking. With the latter, she not only contributed to the strengthening of the ideals of virtue fostered during 19th century, but also of the necessity of intellectual education of women as a fundamental requirement for the training of ideal female citizens. (shrink)

Three experiments examined whether children and adults would use temporal information as a cue to the causal structure of a three-variable system, and also whether their judgements about the effects of interventions on the system would be affected by the temporal properties of the event sequence. Participants were shown a system in which two events B and C occurred either simultaneously (synchronous condition) or in a temporal sequence (sequential condition) following an initial event A. The causal judgements of adults and (...) 6-7-year-olds differed between the conditions, but this was not the case for 4-year-olds' judgements. However, unlike those of adults, 6-7-year-olds' intervention judgements were not affected by condition, and causal and intervention judgements were not reliably consistent in this age group. The findings support the claim that temporal information provides an important cue to causal structure, at least in older children. However, they raise important issues about the relationship between causal and intervention judgements. (shrink)

Este trabalho tem como objetivo apresentar e discutir a filosofia da experiência de John Dewey, enfatizando suas concepções sobre experiência, experiência educativa e propósito. Além disso, apresentar e discutir como os projetos de programação desenvolvidos por crianças no Scratch podem ser entendidos como um propósito no contexto de sua filosofia, o que nos levou a relacionar o conceito de propósito construído por Dewey à ideia de projeto pessoal desenvolvida por Papert, no âmbito do construcionismo. Tal relação se torna importante para (...) ampliar as investigações que tratam problemáticas relacionadas ao ensino de programação na educação básica. A fim de exemplificar as possíveis relações, apresentamos um projeto de programação desenvolvido por um aluno do quinto ano do ensino fundamental, reconhecendo nele os pressupostos teóricos da teoria de Dewey discutidos no texto, relacionando-os às ideias de Papert. (shrink)

This article aims to improve the knowledge on Generation Z as employees within workforce and in the workplace, as well as on the main thematic trends that drive the research on the topic. To this end, and using bibliometric techniques, a sample of 102 publications on this subject from Web of Science between 2009 and 2020 is analyzed. Research discusses the most published and most cited authors and journals to have a broad view of the context of the subject. Later, (...) through a longitudinal view, the study mainly focuses on analyzing the evolution of thematic clusters, to assess the progress of the themes, as well as the network around the principal motor cluster of each period. The obtained results suggest a hardly developed topic, which started to draw attention in 2018, while still having a wide margin for growth. The core of research on the topic has evolved around “Generation-Z” “generations,” “workplace,” “management” and “attitudes,” “leadership,” “career,” or “learning-teaching-education,” although a low keyword stability among periods was noted. There is a need for further development on a variety of aspects regarding this generation and the labor market, as the study shows a clear orientation toward management and generational diversity within the workplace. (shrink)

We examine the comportment of the global trajectory of a piecewisely conceived single species population growth model. Formulation relies on what we develop as the principle of limiting factors for population growth, adapted from the law of the minimum of Liebig and the law of the tolerance of Shelford. The ensuing paradigm sets natality and mortality rates to express through extreme values of population growth determining factor. Dynamics through time occur over different growth phases. Transition points are interpreted as thresholds (...) of viability, starvation, and intraspecific competition. In this delivery, we focus on the qualitative study of the global trajectory expressed on continuous time and on exploring the feasibility of analytical results against data on populations growing under experimental or natural conditions. All study cases sustained fittings of high reproducibility both at empirical and interpretative slants. Possible phase configurations include regimes with multiple stable equilibria, sigmoidal growth, extinction, or stationarity. Here, we also outline that the associating discrete-time piecewise model composes the logistic map applied over a particular region of the phase configuration. Preliminary exploratory analysis suggests that the logistic map’s chaos onset could surpass once the orbit enters a contiguous phase region. (shrink)