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)

By themselves, mesencephalic subcortical mechanisms provide a preattentive kind of consciousness, related to stimulus-related, short-latency dopamine release triggered by collicular input. Elaborate forms of consciousness, containing identifiable objects (visual, auditory, tactile, or chemical), imply longer-lasting phenomena that depend on the activation of prosencephalic networks. Nevertheless, the maintenance of these higher-level networks strongly depends on long-lasting mesencephalic dopamine release. (Published Online May 1 2007).

There are numerous studies that, from different perspectives, have dealt with the debate held in the Spanish Empire during the 16th century on the slavery of the American Indians, starring –among others– by Francisco de Vitoria and his disciples from the School of Salamanca, and also –outside the academic sphere– by Fray Bartolomé de las Casas and Juan Ginés de Sepúlveda. The purpose of this work is to study whether this debate made its mark in Spanish society. For this, (...) it is analyzed three theatrical pieces from the Golden Age signed by playwrights of the stature of Tirso de Molina, Lope de Vega and Pedro Calderón de Barca, who –given their enormous popularity– had the capacity to reach the wide audience that congregated in the corrals of comedies. Were these three writers influenced by the controversy over the Indians carried out, among other authors, by Vitoria, Las Casas and Sepúlveda? Did they fully grasp in their works the subtle debate that Vitoria, Las Casas and Sepúlveda maintained when they interpreted Aristotelian arguments on slavery and the consequences that derived from them in terms of the possibility of enslaving or not the Indians? (shrink)

Frente al modelo epistémico de la modernidad "ideas claras y distintas", "ordine geometrico", en el barroco español prevalece la expresión de los símbolos y la referencia a los valores, la nada, la vida, la temporalidad, os sueños y la sabiduría intuitiva y proyectiva: san Juan de la Cruz, Gracián, Quevedo, Calderón... También en el s. XX, el modo de entender "europeo" es diferente. Unamuno habla del "método de la pasión" y "sabiduría frente a la ciencia" ; Ortega de "la interpretación (...) española del mundo" y "la razón al servicio de la vida" ; el poeta A. Machado de "visiones cordiales u opiniones de sentido, en vez de definiciones conceptuales". Son diferentes modos de entender la modernidad . (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)

Introduction: What is to be gained from a confrontation between Plato and Heidegger? -- Heidegger's critical reading of Plato in the 1920s -- Dialectic, ethics, and dialogue -- Heidegger's critique of dialectic in the 1920s --Ethics and ontology -- Ethics in Plato's sophist -- Heidegger and dialogue -- Logos and being -- The tensions in Heidegger's critique -- The guiding perspective of Plato as undermining the ontic/ontological distinction -- Heidegger on Plato's forms -- Conclusion: The relation between being and Heidegger (...) on Plato's truth and untruth in the 1930s and 1940s -- From the 1931-32 and 1933-34 courses on the essence of truth to "Plato's doctrine -- Of truth" : Heidegger's transformation of Plato into platonism through the interpretation of the sun and cave analogies of the republic -- The courses on the essence of truth from WS 1931/32 and WS 1933/34 -- Plato's truth in the beitråge of 1936-38 -- Plato's doctrine of truth in 1940 -- The end of truth : the 1964 retraction -- Conclusion: The end of truth? -- The dialogue that could have been : Hidegger on the Theaetetus -- The Theaetetus interpretation in Die Grundbegriffe der antiken philosophie (SS 1926) -- The interpretation of the Theaetetus in the Vom Wesen der wahrheit course of 1931-32 and 1933-34 -- Conclusion: Heidegger's orthodoxy -- The 1942 interpretation of Plato in the myth of the (Republic book 10) -- The Roman versus the Greek conception of truth saying in the myth of ER -- Purging the myth of ER : the ontologizing of ethics and politics -- The Greek experience of the open : a saying that points and hints versus the "Leap" -- Conclusion: Leaping beyond Plato -- Opportunities for a dialogue with Plato in the late Heidegger -- Calculative thinking, meditative thinking, and the practice of dialogue -- Heidegger's critique of logos in the 1930s -- Dialogue as bringing to speech the unsaid -- Plato's dialectic or Hegel's? -- A saying beyond assertion -- Plato's dialogues and Heidegger's leap -- Heidegger and the dialogue form -- Redefining hermeneutics -- Back to the beginning with dialectic and dialogue -- Conclusion: Dialectic versus sophia again -- 7 dialectic and phenomenology in "Zeit und Sein" : a pivotal chapter in Heidegger's confrontation with Plato -- From dialectic and hermeneutics to phenomenology -- The Auseinandersetzung with Plato. (shrink)

ABSTRACTThis article discusses the complexity in ironic echoic mention from the perspective of Cognitive Linguistics. It builds on the scenario-based approach to irony where ironic meaning is treat...

IntroductionIdeas of reference are frequent in psychopathology, mainly in psychotic disorders. The frequency of IR and preoccupation about them are related to the psychotic dimension, and to a lesser extent, to negative or emotional disorganized dimensions. Aberrant salience, has been proposed as an indicator of the onset of psychosis, particularly of schizophrenia. This study analyzed the mediating role of AS, disorganized symptoms and preoccupation about IR in the relationship between IR and the psychotic dimension.MethodThe sample consisted of 330 participants, 62.4% (...) of whom were women aged 18–79. The Referential Thinking Scale, the Aberrant Salience Inventory, and the Brief Psychiatric Rating Scale were administered.ResultsEvidence of a partial mediation model showed that the relationships between IR and the psychotic dimension were mediated jointly by AS and the disorganized dimension, and preoccupation about IR no longer had a role. This relationship was significantly influenced by participant age. The variables in the model explained 54.16% of the variance.ConclusionThe model proposed enabled a set of vulnerabilities to be predicted that could lead to a high-risk general pathological state and proneness to psychosis in particular. These findings are discussed with regard to early detection and prevention of psychosis. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BALTHASAR AND ECKHART: THEOLOGICAL PRINCIPLES AND CATHOLICITY CYRIL O'REGAN Yale University New Haven, Connecticut Or pleas'd to wound, and yet afraid to strike, Just hint a Fault, and hesitate Dislike; Alike reserv'd to blame or to commend, A tim'rous Foe and a suspitious Friend 1 THE TENDENCY to avoid exclusion is a mark of the thought of Hans Urs von Balthasar. It represents an identifying habit, an incorrigible feature (...) of style and sensibility. His texts in which theologians, philosophers, poets, dramatists, and saints are christianly praised give testimony to a catholicity that barely brooks limits. Not only in true Gospel fashion are a multitude invited to the eschatological banquet, they constitute the vast medium of tradition, in which Maximus the Confessor rubs shoulders with Plato, in the company of Claudel, Calderon, and Therese of Lisieux. At different times Balthasar thinks of the tradition as one huge symphony in which notes sound only to be transcended and as a conversation between particular perspectives on the great mystery of redemption, no one of which is final and which meet only in the infinity of their object. The decision for plurality and variety in the tradition certainly validates difference and counts against its reduction.2 Yet at the same time tradition, precisely as a matter of variety, exhibits a measure of coherence or concordance that pro1 These couplets are from Alexander Pope's poem Atticus. See Minor Poems, ed. Norman Ault, completed by John Butt (London: Methuen & Co. Ltd.; New Haven: Yale University Press, 1954), p. 143. 2 See, for example, The Theology of Karl Barth, trans. Edward T. Oakes, S.J. (San Francisco: Ignatius Press, 1992), pp. 39, 187, 251. 203 204 CYRIL O'REGAN hibits difference from becoming truly excessive. It is this prohibition of excessive difference in Balthasar's reading of tradition that I would like to examine here. I take as my case study of Balthasar's rhetoric of reading his conflicted response to Meister Eckhart, about whose inclusion in the Christian tradition Balthasar expresses no doubts, yet whose theological message is such as to cause anxiety. We shall occupy ourselves in this paper with the way in which Eckhart's nonnegotiable inclusion within the tradition serves to repress the account of those features that present a fundamental challenge, that represent difference that would make the Christian field radically heterogeneous. In the first two sections, focusing mainly on the fifth volume of The Glory of the Lord (=GL),3 I shall offer outlines of both the positive and negative contributions Eckhart is deemed to have made to the theological tradition. Though I do not wish to give the impression of Scholastic pro and contra, Balthasar's positive remarks being imbricated with the negative and vice versa, it will be suggested that the elements adduced in both cases constitute mirror images of each other. Balthasar takes a bifocal, though not stereoscopic, view of a group of five elements: aesthetic disposition, the sameness of Being and God, the whylessness of the divine, Gelassenheit, and Gottesgeburt. This group is in effect read twice, once in a way that affirms and confirms Eckhart's unproblematic inclusion in the tradition (section 1), and again in a way that, in the light of basic Christian principles, raises serious questions about such inclusion (section 2). In a final section the question is raised whether the conflict in interpretation suggests a deeper underlying conflict between Balthasarian commitment to Catholic theological principles and catholicity. I. BALTHASAR'S AFFIRMATIVE RENDERING OF ECKHART On the surface there is little reservation about the approbation Eckhart receives in the fifth volume of The Glory of the 3 The Glory ofthe Lord: A Theological Aesthetics, vol. S, The Realm ofMetaphysics in the Modern Age, trans. Oliver Davies, Andrew Louth, Brian McNeil, C.R.V., John Saward, and Rowan Williams, ed. Brian McNeil, C.R.V. and John Riches (San Francisco: Ignatius Press, 1991). BALTHASAR AND ECKHART 205 Lord. If the depths of Balthasar's analyses of the medievals in his volumes on metaphysics (vols. 4 & 5) never reach the level of his account of Anselm and Bonaventure in volume two, it would be caviling to suggest that his intention at the... (shrink)

This study attempts to analyse the relationship between two key psychological variables associated with performance in sports - Self-Determined Motivation and Competitive Anxiety - through Bayesian Networks analysis. We analysed 674 university students/athletes from 44 universities that competed at the University Games in México, with an average age of 21 years (SD = 2.07) and with a mean of 8.61 years’ (SD = 5.15) experience in sports. Methods: Regarding the data analysis, first a CHAID algorithm was carried out to determine (...) the dependence links between variables, and then a Bayesian networks was developed. The validation of the BN revealed AUC values ranging from 0.5 to 0.92. Subsequently, various instantiations were performed with hypothetical values applied to the “bottom” variables. Results showed two probability trees that have extrinsic motivation and amotivation at the top, while the anxiety/activation due to worries about performance was at the bottom of the probabilities. The instantiations carried out support the existence of these probabilistic relationships, demonstrating their scarce influence on anxiety about competition generated by the intrinsic motivation, and the complex probabilistic effect of introjected and identified regulation regarding the appearance of anxiety due to worry about performance. (shrink)

This article analyzes whether state repression in post—civil war situations can be explained by dynamics associated with previous civil wars. It claims that in post—civil war situations the state can more easily resort to indiscriminate repression against social groups, relying on information related to the civil war. Two civil war dynamics are tested: preemptive indiscriminate violence to eliminate opposition by the defeated population and retaliation for crimes committed during the war. Using data from the first decade of the Francoist regime (...) in Spain, the author found that civil war dynamics, and not actual dissent, explain most of the country’s postwar violence. (shrink)

La obra de Jorge Luis Borges (1899-1986) siempre suele relacionarse con la de autores ajenos a la literatura española como De Quincey, Stevenson, Whitman, Chesterton, Coleridge o Poe. Su anglofilia es bien conocida por todos. También su relación con el idioma de Goethe o con la cultura árabe y Las mil y una noches. Sin embargo, asumiendo su propia sentencia «Mi destino es la lengua castellana, el bronce de Francisco de Quevedo», rastrearemos las huellas indelebles que dejó la literatura (...) española del Barroco y de los Siglos de Oro en la obra del escritor argentino, y cómo los símbolos del siglo XVII son recuperados desde la literatura reconstructivista de Borges para continuar con una tradición y al mismo tiempo transformar su significado. (shrink)

En esta conferencia, inédita hasta el momento, el profesor Francisco Canals establece un diálogo entre el trascendentalismo kantiano y el pensamiento de Tomás de Aquino. La pregunta acerca de la ontología del sujeto cognoscente humano, bloqueada por los presupuestos de Kant, puede en cambio ser formulada y encontrar respuesta en la metafísica del conocimiento del Aquinate. Frente a los problemas suscitados por la postulación cartesiana de una intuición intelectual perfecta del yo pensante, y frente a la escisión del yo (...) puro y el yo empírico operada en Kant, Canals propone una ontología del sujeto basada en la metafísica del conocimiento de Tomás de Aquino, donde el sujeto finito intelectual sensible compuesto que es el hombre se interpreta en el plano de la naturaleza intelectual. (shrink)

This work represents an attempt to stake out the landscape for dynamicism based on a radical dismissal of the information-processing paradigm that dominates the philosophy of cognitive science. In Section 2, after setting up the basic toolkit of a theory of minimal representationalism, I introduce the central tenets of dynamic systems theory (DST) by discussing recent research in the dynamics of embodiment (Thelen et al. [2001]) in the perseverative-reaching literature. A recent proposal on the dynamics of representation--the dynamic field approach (...) (Spencer and Schöner [2003])-- according to which the alleged representational gap between DST and representational theories of cognition needs to be bridged in order to explain higher-order cognitive activity will then be reviewed. In Section 3 I shall argue that Spencer and Schöner's attempt to bridge the representational gap may jeopardize the whole (antirepresentationalist) spirit of the DST project. In order to show why, I shall introduce the key concepts of "reliability of environment" and "primagenesis", and argue that DST can account for de-coupled, offline cognitive activity with no need of positing representational resources. Conclusions and directions for future research will follow. (shrink)

What would it mean for an emotion to successfully “recognize” something about an object toward which it is directed? Although the notion of "emotional recognition" is central to Rick Furtak’s _Knowing Emotions_, the text does not provide an account of this concept that enables us to assess the extent to which a given emotional response is recognitive. This article draws from the text to articulate a novel account of emotional recognition. According to this account, emotional recognition can be assessed not (...) only in terms of the “accuracy” of an emotional construal in a strictly epistemological sense, but also in terms of the quasi-ethical ideal of responding emotionally to what we encounter in ways that are “specific,” “deep," and “balanced.". (shrink)

Stephen Jay Gould’s monumental The Structure of Evolutionary Theory ‘‘attempts to expand and alter the premises of Darwinism, in order to build an enlarged and distinctive evolutionary theory . . . while remaining within the tradition, and under the logic, of Darwinian argument.’’ The three branches or ‘‘fundamental principles of Darwinian logic’’ are, according to Gould: agency (natural selection acting on individual organisms), efficacy (producing new species adapted to their environments), and scope (accumulation of changes that through geological time yield (...) the living world’s panoply of diversity and morphological complexity). Gould’s efforts to contribute something important to each of these three fundamental components of Darwinian Theory are far from successful. (shrink)

Despite the public availability of legal documents, there is a need for finding specific information contained in them, such as paragraphs, clauses, items and so on. With such support, users could find more specific information than only finding whole legal documents. Some research efforts have been made in this area, but there is still a lot to be done to have legal information available more easily to be found. Thus, due to the large number of published legal documents and the (...) high degree of connectivity, simple access to the document is not enough. It is necessary to recover the related legal framework for a specific need. In other words, the retrieval of the set of legal documents and their parts related to a specific subject is necessary. Therefore, in this work, we present a proposal of a RDF-based graph to represent and search parts of legal documents, as the output of a set of terms that represents the pursued legal information. Such a proposal is well-grounded on an ontological view, which makes possible to describe the general structure of a legal system and the structure of legal documents, providing this way the grounds for the implementation of the proposed RDF graph in terms of the meaning of their parts and relationships. We posed several queries to retrieve parts of legal documents related to sets of words and the results were significant. (shrink)

El estudio de la etnicidad ha presentado tradicionalmente una serie de dificultades. La razón última de ello estriba en la naturaleza dinámica y difusa de las identidades sociales. Este artículo reconstruye el origen intelectual de tales dificultades y la importancia de la idea de contingencia para una consideración normativa de la etnicidad. Tras repasar los principales modelos de ciudadanía moderna, el texto analiza el papel de los inmigrantes en la estructura de derechos civiles y concluye con una reflexión sobre las (...) posibilidades abiertas en la sociedad española para un modelo pluralista de integración. (shrink)

According to Ramsey (Representation reconsidered, Cambridge University Press, New York, 2007 ), only classical cognitive science, with the related notions of input–output and structural representations, meets the job description challenge (the challenge to show that a certain structure or process serves a representational role at the subpersonal level). By contrast, connectionism and other nonclassical models, insofar as they exploit receptor and tacit notions of representation, are not genuinely representational. As a result, Ramsey submits, cognitive science is taking a U-turn from (...) representationalism back to behaviourism, thus presupposing that (1) the emergence of cognitivism capitalized on the concept of representation, and that (2) the materialization of nonclassical cognitive science involves a return to some form of pre-cognitivist behaviourism. We argue against both (1) and (2), by questioning Ramsey’s divide between classical and representational, versus nonclassical and nonrepresentational, cognitive models. For, firstly, connectionist and other nonclassical accounts have the resources to exploit the notion of a structural isomorphism, like classical accounts (the beefing-up strategy); and, secondly, insofar as input–output and structural representations refer to a cognitive agent, classical explanations fail to meet the job description challenge (the deflationary strategy). Both strategies work independently of each other: if the deflationary strategy succeeds, contra (1), cognitivism has failed to capitalize on the relevant concept of representation; if the beefing-up strategy is sound, contra (2), the return to a pre-cognitivist era cancels out. (shrink)

Several authors, such as William J. Morgan, John S. Russell and R. Scott Kretchmar, have claimed that the limits between the diverse normative theories of sport need to be revisited. Most of these works are philosophically grounded in Anglo-American philosophical approaches. For instance, William J. Morgan’s proposal is mainly based on Richard Rorty’s philosophy. But he also discusses with some European philosophers like Jürgen Habermas. However, Habermas’ central ideas are rejected by Morgan. The purpose of this paper is to analyse (...) Morgan’s rejection of Habermas’ thought and show that a more appropriate normative of sport that explains better our current sporting world can be achieved by drawing on the German philosopher’s ideas. The plan of this paper is the following. It shall analyse the limits of the distinction between broad internalism and externalism by taking Morgan’s work as its starting point. To do so, firstly, the conventionalist way in which Morgan criticises the limits of interpretivism sha.. (shrink)

Socrates can be said to have left the subsequent philosophical tradition with the problem of the relation between philosophy and politics. Already in the Republic the proposal of philosopher-kings represents more a tension than an identity. While Aristotle responds by insisting on a sharp distinction between politics and philosophical wisdom, this distinction proves on closer examination much less sharp than might appear. Heidegger characterizes philosophy as the only authentic politics and the philosopher as ruling just by virtue of being a (...) philosopher. In contrast, Foucault insists that, if philosophy can play a role in relation to politics by transforming the subject who lives politically, it plays no role within politics. In this contrast can be seen the 'fallout' of the tension bequeathed by Socrates through both Plato and Aristotle. Podría decirse que Sócrates le dejó a la tradición filosófica posterior el problema de la relación entre filosofía y política. Ya en la República la propuesta del rey filósofo representa más una tensión que una identidad. Mientras que la respuesta de Aristóteles insiste en una clara distinción entre la política y la sabiduría filosófica, un examen cuidadoso demuestra que esta distinción es menos clara de lo que parece. Heidegger caracteriza la filosofía como la única política auténtica y al filósofo como gobernante por el mero hecho de ser filósofo. En contraste, Foucault insiste en que si bien la filosofía puede desempeñar un papel en relación con la política al transformar al sujeto que vive políticamente, aquella no desempeña papel alguno dentro de la política. Este contraste ilustra el resultado de la tensión legada por Sócrates a través de Platón y Aristóteles. (shrink)

La educación, como proceso de formación de los seres humanos para la sociedad, se encuentra determinada por los requerimientos del ser social. Ésta se valida toda vez que mantiene coherencia con los paradigmas, categorías, o las bases epistemológicas de un determinado cuadro científico de mundo o imagen de éste. De acuerdo a ello, develamos que las crisis o problemas que tiene el proceso educacional actual, obedecen a un movimiento objetivo de tensiones dadas por las necesidades sociales y los obstáculos de (...) las micro y macro relaciones de poder sustentadas en paradigmas clásicos. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Method and Politics in Plato’s Statesman by M. S. LaneFrancisco J. GonzalezM. S. Lane. Method and Politics in Plato’s Statesman. Cambridge: Cambridge University Press, 1998. Pp. xiii + 229. Cloth, $59.95.This rewarding book not only is another sign of growing interest in the Statesman, but also does much to justify this interest. The reasons for the dialogue’s relative neglect until recently are easily stated: readers have been puzzled (...) by the amount of space devoted to method in a dialogue ostensibly about politics; furthermore, they have found both the method and the politics highly unsatisfactory. Lane addresses each of these concerns. She continually draws our attention to the unity of method and politics in the dialogue: the limitations of the Stranger’s initial divisions are shown to be equally methodological and political (44–5); the cosmic story is shown to be flawed by a political prejudice (the traditional model of king as shepherd), which turns into a methodological prejudice (the telling of a story too long to be profitably used as an example; 9–10, 121–3); the capacities ultimately shown to be necessary for a successful inquiry (division, exemplification, and finding the mean) also prove to be essential requirements of political knowledge (143–4, 202).Lane’s major contribution to our understanding of the dialogue’s method is her demonstration of the central role played by example (paradeigma). Lane expresses a common objection to the method of division: “But how to choose just which apparently similar things or names to investigate? Similarities are ubiquitous; there is some respect in which everything is similar to everything else. What is more, it is usually on the basis of prejudice and preconceived ideas … that similarities are distinguished” (75–6). Lane sees example as the solution, since it is precisely the task of an example to fix on those similarities relevant to the aim of the inquiry (76, 86–7).This is a very appealing solution, but one must wonder if it does not simply postpone the problem. To choose the right example, must we not make assumptions about which similarities are relevant to defining the object of inquiry and therefore about the nature of this object? And may not these assumptions be no more than prejudices or preconceived ideas? While the Stranger indeed develops his own example of weaving to an extent unparalleled in other dialogues (93), that there are essential similarities between statecraft and weaving appears to be more assumed than demonstrated by the example.With regard to politics, Lane provides a very illuminating account of the dialogue’s characterization of political expertise as certain knowledge of the good in a temporal context, or the kairos. She shows in what way this “knowledge of timing” (142) both is distinct from, and rules over, other contenders for the title of statecraft (such as rhetoric and strategy).Since, however, the existence of a statesman possessing such political expertise is, from the dialogue’s perspective, “a logical but unlikely possibility” (111) and, “from a [End Page 159] modern perspective,” seemingly impossible (4–5), the practical value of the Stranger’s political theory depends on his claim that the regimes which do exist can ‘imitate’ this ideal (300e11–301a3). But how? Even the second-best regimes are characterized by strict adherence to laws based on nothing more than persuasion, experiment and majority consensus (300b1–6), while in the ideal regime a knowledgeable statesman creates laws only as “memoranda” which he is entitled to revise or revoke at any time. According to Lane there is nevertheless one similarity that allows the second-best regimes to be called “second-order imitations” (see 109–111) of the ideal: both will not change laws without expert advice (158–9). This assumes that the second-best regimes acknowledge the authority of a political expert to change the laws, should one appear, an assumption that Lane reiterates throughout the book (11, 111, 114, 139, 147).Yet it is precisely this assumption that appears to be refuted by the thought-experiment at 298a–299e. The Stranger describes a city in which the practice of medicine, navigation and the other technai must adhere strictly to laws... (shrink)

Este texto trata de certas comemorações de caráter profano dentro do espaço sagrado ou litúrgico. Além do carnaval, enfoca-se a Festa do Asno, notadamente a celebrada na cidade de Rouen, que compreendia uma procissão com grande aparato, acompanhada pelo clero e pelo povo.

Este artigo apresenta um estudo sobre alguns elementos históricos na problemática da Filosofia da História. A finalidade é a de problematizar questões que servem de referencial para a discussão de algumas tendências em filosofia da história, dentro de um ponto de vista histórico-crítico, para demonstrar como a razão instrumental e calculadora anula o pensar crítico e transformador na compreensão da Filosofia da História. A investigação parte da análise do confronto entre as concepções dos antigos e dos modernos acerca da filosofia (...) da história até culminar em uma análise de algumas teorias na filosofia contemporânea, a partir da teoria-crítica da Escola de Frankfurt. (shrink)

In this paper I explore whether three different approaches to connexivity – namely, Lewis and Langford’s, Wansing’s and Egré and Politzer’s – can be non-trivially related. Lewis and Langford’s approach consists of the definition of the conditional in terms of consistency via the definition of possibility in terms of consistency and Lewis’ definition of the (strict) conditional in terms of possibility; Wansing’s approach is based on his definition of the falsity condition for the conditional as “if A is true then (...) B is false”; Egré and Politzer’s approach relies on the modalization of the falsity condition for the conditional in its conditional form (A→◇~B). With this background in mind, I build upon Estrada-González’s work relating connexivism and possibilism, the thesis according to which everything is possible. Estrada-González’s work relates Lewis and Langford’s connexive approach with Nelson’s idea that every proposition is self-consistent. He does so using a fragment of LP augmented with a special conditional. This relation has resulted in the study and postulation of several truth-functional modalities, some of which have already been discussed elsewhere. I employ several truth-functional modalities to evaluate Egré and Politzer’s falsity conditions for the conditional. I show that in using Béziau’s truth-functional modality ◇B, definable in Estrada-González’s framework, one can retain in a single framework the three different approaches. More specifically, distinguishing the notion of logical equivalence from the notion of interderivability and these two from the notion of coimplication, it is possible to relate ~(A→B) and (A→◇~B) as interderivable schemas and in a valid biconditional. I also show some consequences of this for Béziau’s negative appraisal of three-valued truthfunctional modalities. (shrink)