The “nature” of an artifact is often equated with its function. Clearly, an artifactual function must be an extrinsic property. This feature of functions has important implications on the semantics of artifactual kind terms: it enables us to vindicate that artifactual kind terms have an externalist semantics. Any alleged externalist theory, indeed, must show that the referents of the considered terms share a common nature (i.e., an extrinsic property), whether we know or could possibly ever know what that nature is. (...) However, the state of the art shows that function is not enough to represent such “nature”: function does not exhaustively account for important phenomena that characterize artifacts and artifactual kinds, nor does it thoroughly define what they are. Thus, extending the scope of externalism to artifactual kind terms seems doomed to fail. Pace opposite views, it could even be argued that artifacts are a sub-class of social kinds. If so, not only social but also artifactual kind terms cannot refer externalistically, since their referents constitutively depend on human intentions and norms. Either way, externalism fails to apply to those kinds of terms. (shrink)

What kind of reference (if any) do terms such as “pencil,” “chair,” “television,” and so on have? On the matter, a de-bate between directly referential theorists and descriptiv-ist theorists is open. It is largely acknowledged that natural kind terms (such as “water,” “gold,” “tiger,” etc.) are directly referential expressions (cf. Putnam,1975). That is, they are expressions whose reference is determined by their refer-ents' nature, independent of whether we know or will ever know what this nature is. However, it does not (...) seem like-wise convincing that all artifactual kind terms (like “pen-cil,” “chair,” “television,” etc.) semantically behave the same. Terms for artifactual kinds seem more likely to be subjected to a descriptivist view, that is, definable not by links to their extensions' nature but in terms of conjunctions or clusters of properties. In his celebrated “The Meaning of ‘Meaning’” (1975), Hilary Putnam originated the mentioned debate by arguing that artifactual kind terms also refer directly. Thus, the discussion ultimately revolves around establishing whether artifactual and natural kind terms are both directly referential expressions. The authors engaged in this debate have tried to argue in favor of (or against) Putnam's proposal by highlighting the similarities (or differences) between nat-ural vis-à-vis artifactual kind words and their respective ref-erents. This paper aims to provide a thorough and reasoned overview of the debate at stake, pointing out trends and problems associated with each proposed account. (shrink)

Kants kritische Philosophie hat der traditionellen Metaphysik so gründlich die Flügel gestutzt, dass das Transzendente weitgehend aus dem Blickfeld der Kant-Forschung geraten ist. Der vorliegende Band will dieser Entwicklung entgegenwirken. Er fragt in interdisziplinärer Perspektive (Philosophie, Politikwissenschaft, Theologie) nach den transzendenten Geltungsgründen politischer Ordnungen einerseits und nach der Gültigkeit und dem Sinn einer epistemisch unverfügbaren Transzendenz andererseits. Inwiefern ist unsere Praxis durch Transzendenz fundiert und welchen Sinn verleihen wir der uns unverfügbaren Transzendenz in unseren lebensweltlichen Vollzügen? Diese Fragen werden entlang (...) der politischen Philosophie sowie der religionsphilosophischen Philosophie Kants untersucht. Sie weisen jedoch über den Rahmen der Kantischen Philosophie hinaus, indem sie Begriffe von politischer Ordnung mit Transzendenz konfrontieren sowie den kritischen Begriff der Transzendenz mit seinen religiösen Sinnfiguren in Beziehung setzen. (shrink)

Putnam’s suggestion of extending the scope of his semantic theory has opened an ongoing debate. The majority seem to agree with Putnam as long as he restricts his analysis to natural kind terms, whereas many doubts have arisen about whether or not it can be applied to artifactual kind terms as well. Specifically, this disagreement originated with the thought experiment that Putnam laid out in order to prove his controversial thesis. Here I analyze it in detail in order to evaluate (...) whether it proves what it has been alleged to prove. Unlike the other authors engaged in the debate, I point out that this particular argument cannot demonstrate that artifactual words refer externalistically. I claim that, on closer inspection, Putnam’s thought experiment only shows that an artifactual term like ‘pencil’ can turn out to be a natural kind word, but, in the end, it tells us little about how our “actual” artifactual kind terms work. In order to make my point, I also bring out the two fundamental requirements that a genuine externalist argument about artifactual words ought to meet. Finally, I report, albeit briefly, the main externalist accounts in this respect, illustrating how none of them actually meet the challenge. (shrink)

Para las empresas recolectoras de residuos sólidos es indispensable controlar los factores de riesgos asociados a la calidad del aire del entorno laboral de sus empleados con el objetivo de minimizar las afecciones de salud de sus trabajadores. El propósito del estudio es desarrollar un prototipo de un sensor inalámbrico de medición de calidad de aire. Este instrumento de medición será implementado en ambientes laborales para trabajadores de recolección de residuos sólidos. A partir del estudio se concluye que para empresas (...) de este sector es indispensable el control de factores de riesgos asociados a la exposición a gases y vapores. (shrink)

Through expert analysis, this text proves that John Dewey's views on efficiency in education are as relevant as ever. By exploring Deweyan theories of teaching and learning, the volume illustrates how they can aid educators in navigating the theoretical and practical implications of accountability, standardization, and assessment. The Contemporary Relevance of John Dewey's Theories on Teaching and Learning deconstructs issues regarding accountability mechanisms, uniform assessment systems, and standardization processes through a Deweyan lens. Connecting the zeitgeist of the era from which (...) Dewey's ideas emerged and current global political, social, and economic contexts, the book emphasizes the importance of resilient systems in reconciliating the tension between standardized assessments and individual student development. Contributors provide insights from a range of settings across Pre-K, primary, secondary, and higher education and address topics including teacher agency, voice, leadership, and democracy. The volume will be of interest to scholars, researchers, and academics with an interest in philosophy of education, education policy and the impact of neoliberal agendas, as well as teaching and learning more broadly. (shrink)

Philosophy Compass, Volume 17, Issue 9, September 2022.

La théorie de l’extase de Sergueï Eisenstein propose le paradoxe de représenter la « sortie de la représentation ». À partir d’un projet artistique iconoclaste, proche de celui des avant-gardes des années 1910-1920, qui concevaient la représentation ( Vorstellung ) comme un « mur » à détruire, Eisenstein pense cet objectif possible seulement en sauvegardant la mimésis. Il conçoit alors une esthétique à la fois organique et pathétique qui développe les possibilités expressives et donc une nouvelle et plus puissante représentation (...) ( Darstellung ). (shrink)

Desde la convivencia de "distintos" se construye lo político dimensión antagónica, sustancialmente trágica, ineludible campo de hostilidad en las sociedades humanas. Sobre estas consideraciones, reflexionamos sobre el asunto de la sociología que hacemos, sobre cómo construimos y leemos nuestras real..

The River of the Plate has been from mid century XVII a pole of great attraction of native migrante population of Spain. Numerous studies have determined the influence and importance of Navarrese, Basque or Castilian immigration in Buenos Aires. Between these families, those of origin Andalusian they occupied un important place. The ports of Seville and Cadiz were witnesses of that human, cultural and economic interchange between the Metropolis and the New World. The object of this work is to approach (...) us that migratoy reality being determined the human and economic bows between Andalusia and the distant River of the Plate throughout century XV111. (shrink)

In 2015 the first mass migration and the first geopolitical and transnational crisis of the digital age began. This brought along the awakening of a new phase in slavery trade and trafficking of human beings (THB) at the European borders. In this article I introduce an ongoing field study I began in January 2016, in collaboration with experts from Spanish and European institutions, that so far has taken me to hotspots and borders, and to the accumulation of a vast multimedia (...) archive. This led to the creation of zonaautonomamilitarizada.eu, an immersive/360°, interactive and reactive audio-visual performative system conceptually rooted in military technologies, second-order cybernetics and mass media developments. (shrink)

We report on an unpublished and previously unknown manuscript of John von Neumann and contextualize it within the development of the theory of shock waves and detonations during the nineteenth and twentieth centuries. Von Neumann studies bombs comprising a primary explosive charge along with explosive booster material. His goal is to calculate the minimal amount of booster needed to create a sustainable detonation, presumably because booster material is often more expensive and more volatile. In service of this goal, he formulates (...) and analyzes a partial differential equation-based model describing a moving shock wave at the interface of detonated and undetonated material. We provide a complete transcription of von Neumann’s work and give our own accompanying explanations and analyses, including the correction of two small errors in his calculations. Today, detonations are typically modeled using a combination of experimental results and numerical simulations particular to the shape and materials of the explosive, as the complex three dimensional dynamics of detonations are analytically intractable. Although von Neumann’s manuscript will not revolutionize our modern understanding of detonations, the document is a valuable historical record of the state of hydrodynamics research during and after World War II. (shrink)

The logic of discovering and that of justifying have been a permanent source of debate in mathematics, because of their different and apparently contradictory features within the processes of production of mathematical sentences. In fact, a fundamental unity appears as soon as one investigates deeply the phenomenology of conjecturing and proving using concrete examples. In this paper it is shown that abduction, in the sense of Peirce, is an essential unifying activity, ruling such phenomena. Abduction is the major ingredient in (...) a theoretical model suitable for describing the tran-sition from the conjecturing to the proving phase. In the paper such a model is introduced and worked out to test Lakatos' machinery of proofs and refutations from a new point of view. Abduction and its categorical counter-part, adjunction, allow to explain within a unifying framework most of the phenomenology of conjectures and proofs, encompassing also the method of Greek analysis-synthesis. (shrink)

A growing body of literature critical of ethics review boards has drawn attention to the processes used to determine the ethical merit of research. Citing criticism on the bureaucratic nature of ethics review processes, this literature provides a useful provocation for (re)considering how the ethics review might be enacted. Much of this criticism focuses on how ethics review boards _deliberate,_ with particular attention given to the lack of transparency and opportunities for researcher recourse that characterise ethics review processes. Centered specifically (...) on the conduct of ethics review boards convened within university settings, this paper draws on these inherent criticisms to consider the ways that ethics review boards might enact more communicative and deliberative practices. Outlining a set of principles against which ethics review boards might establish strategies for engaging with researchers and research communities, this paper draws attention to how _Deliberative communication_, _Engagement with researchers_ and the _Distribution of responsibility_ for the ethics review might be enacted in the day-to-day practice of the university human ethics review board. This paper develops these themes via a conceptual lens derived from Habermas’ (The theory of communicative action. Volume 1: Reason and the rationalization of society, 1984 ) articulation of ‘communicative action’ and Fraser’s (Social Text, 25(26), 56–80, 1990 ) consideration of ‘strong publics’ to cast consideration of the role that human ethics review boards might play in supporting university research cultures. _Deliberative communication_, _Engagement with researchers_ and the _Distribution of responsibility_ provide useful conceptual prompts for considering how ethics review boards might undertake their work. (shrink)

In the context of technological dissemination sessions aimed at prospective students at the Polytechnic University of Baja California in the city of Mexicali, Baja California, the importance of engineering and its role in scientific and technological progress was stressed, as well as its role in scientific and technological progress as drivers of economic development in the region. A group of 2,154 students from 20 different institutions of public high school education answered a survey designed as an evaluation tool for a (...) career path or technology area of interest. The survey results show that students have a low preference for engineering careers. Moreover, these results were augmented with an additional study on the high attrition of students in engineering schools in the city of Mexicali, Baja California, also conducted by the authors. It raises the importance of teaching science in the early education levels, which aims to prepare scientists and technologists needed for the development of research and innovation as a foundation for economic prosperity and welfare of an emerging economy such as Mexico. (shrink)

A proposal is presented for the incorporation of the concepts of STS into the teaching of science and technology at the Faculty of Engineering, Mexicali Campus, of the University of Baja California. The method outlined for the development of research and the application of the “Opinions Questionnaire on Science, Technology and Society” is described. This method allows an assessment of the views and attitudes of students and teachers on STS issues to identify their strong and weak points and to detect (...) the teaching and learning needs. Also, it is adequate to investigate the students’ attitudinal changes, their increased interest in the processes of learning, and the contribution of STS to their education and integration into the society. (shrink)

This article evaluates the theoretical and practical grounds of recent debates around Christoph Cox’s realist project of a ‘sonic materialism’ by returning to Gilles Deleuze, a key theoretical resource for Cox. It argues that a close engagement with Deleuze’s work in fact challenges many of the precepts of Cox’s sonic materialism, and suggests a rethinking of materialism in the context of music. Turning to some aspects of Deleuze’s work neglected by Cox, the ‘realist’ ontological inquiry Cox affirms is challenged through (...) the ‘onto-ethology’ that Deleuze and Félix Guattari develop in their A Thousand Plateaus, with this diversely constructive theory of relations explicated through musical examples from John Cage and Pauline Oliveros. To conclude, this article suggests that Deleuze can indeed be understood as subscribing to a materialism, but a materialism that is practical rather than doctrinal. (shrink)

There is increasing appreciation for the role that location plays in the experience of a musical event. This paper seeks to understand this role in terms of our habitual relationships to place, asking whether and how being musical somewhere can expand and transform our habituated comportment there, and with what consequences. This inquiry is anchored in a series of site-specific improvised performances by Jen Reimer and Max Stein, and the theory and practice of the late experimental music pioneer Pauline (...) class='Hi'>Oliveros. The argument made interpreting these performances is grounded in Maurice Merleau-Ponty’s phenomenology of embodiment, and Alia Al-Saji’s reception of it. This paper claims that such site-specific improvised performances can elicit a sort of hesitation in our everyday style of sensory-motor conditioning, and, concomitantly, awaken a layer of sensory living amenable to radically new sonic and behavioural configurations. (shrink)

Posthumanism has come to synthesize philosophical, literary, and artistic responses to the pressures of technology, globalization, and mass extinction in the Anthropocene. It asks what it can mean to be human in an increasingly more-than-human world that has lost faith in the ideal of humanism, the autonomous, rational subject, and it models generative alternatives cognizant of the demands of social and ecological justice. Posthumanism in Art and Science is an anthology of indispensable statements and artworks that provide an unprecedented mapping (...) of this intellectual and aesthetic shift in a global context. It extends across a broad range of fields such as art theory, media studies, continental philosophy, natural science, literary studies, aesthetics, psychoanalysis, environmental humanities, social and political theory, and animal studies. The reader features a diverse sampling of major thinkers including Donna Haraway, Rosi Braidotti, Michael Marder, Karen Barad, Alexander Weheliye, Jay Prosser, Anna Tsing, Graham Harman, Timothy Morton, N. Katherine Hayles, Jane Bennett, Bruno Latour, Francesca Ferrando, and Cary Wolfe, as well as innovative, acclaimed artists and curators such as Yvonne Rainer, Chus Martínez, William Wegman, Nandipha Mntambo, Cassils, Pauline Oliveros, Doo-sung Yoo, and Gavin Steingo. Their provocative and compelling works, including previously unpublished interviews and essays, speak to the ongoing conceptual and political challenge of posthuman theories in a time of unprecedented cultural and environmental crises. An essential primer and reference for educators, students, artists, and art enthusiasts, this volume offers a powerful framework for rethinking anthropocentric certitudes and reenvisioning equitable and sustainable futures. (shrink)

An engaging argument about what experimental music can tell us about being human. -/- In Experimenting the Human, G Douglas Barrett argues that experimental music speaks to the contemporary posthuman, a condition in which science and technology decenter human agency amid the uneven temporality of postwar global capitalism. Time moves forward for some during this period, while it seems to stand still or even move backward for others. Some say we’re already posthuman, while others endure the extended consequences of never (...) having been considered fully human in the first place. Experimental music reflects on this state, Barrett contends, through its interdisciplinary involvements in postwar science, technology, and art movements. -/- Rather than pursuing the human’s beyond, experimental music addresses the social and technological conditions that support such a pursuit. Barrett locates this tendency of experimentalism throughout its historical entanglements with cybernetics, and in his intimate analysis of Alvin Lucier’s neurofeedback music, Pamela Z’s BodySynth performances, Nam June Paik’s musical robotics, Pauline Oliveros’s experiments with radio astronomy, and work by Laetitia Sonami, Yasunao Tone, and Jerry Hunt. Through a unique meeting of music studies, media theory, and art history, Experimenting the Human provides fresh insights into what it means to be human. (shrink)

Decomposition is a bracing, revisionary, and provocative inquiry into music—from Beethoven to Duke Ellington, from Conlon Nancarrow to Evelyn Glennie—as a personal and cultural experience: how it is composed, how it is idiosyncratically perceived by critics and reviewers, and why we listen to it the way we do. Andrew Durkin, best known as the leader of the West Coast–based Industrial Jazz Group, is singular for his insistence on asking tough questions about the complexity of our presumptions about music and about (...) listening, especially in the digital age. In this winning and lucid study he explodes the age-old concept of musical composition as the work of individual genius, arguing instead that in both its composition and reception music is fundamentally a collaborative enterprise that comes into being only through mediation. Drawing on a rich variety of examples—Big Jay McNeely’s “Deacon’s Hop,” Biz Markie’s “Alone Again,” George Antheil’s Ballet Mécanique, Frank Zappa’s “While You Were Art,” and Pauline Oliveros’s “Tuning Meditation,” to name only a few—Durkin makes clear that our appreciation of any piece of music is always informed by neuroscientific, psychological, technological, and cultural factors. How we listen to music, he maintains, might have as much power to change it as music might have to change how we listen. (shrink)

This interdisciplinary book examines the work of several female artists since 1960 in the areas of dance, music, installation, photography, architecture, poetry, literature, theater, film, and performance art. Each chapter is primarily devoted to an important work by a single artist, seen within its historical context, and with particular attention to how each artist incorporated gender issues or feminist thought into her respective art form. Laurie Anderson, Gwendolyn Brooks, Jane Campion, Judy Chicago, Zaha Hadid, Pauline Oliveros, Yvonne Rainer, Cindy (...) Sherman, Amy Tan, and Paula Vogel have each made groundbreaking contributions to their fields. As a group, they represent a tremendous diversity of approaches to art making: from accessible to opaque, from overtly feminist to apolitical, from emotive to cool, from controversial to mainstream. (shrink)

In what follows I offer some reflections on an ethics of listening, or perhaps more generally a philosophy of listening, that can be discerned in different forms in the experimental music that, since the 1950s, has challenged and radicalised how music is understood. I situate these reflections around three of my own concert experiences as an audience member.

When beginning to think about the relation between experimental music and the thought of Gilles Deleuze, this quotation seems to be a natural starting point. In Deleuze and Guattari’s affirmation of this phrase from John Cage they suggest a resonance between music and philosophy: in both fields the experimental approach entails a dismantling of predetermining codes and hierarchies, and with this arises the opportunity for an open-endedness that accommodates singular events and encounters. This understanding of experimentation, however, is not as (...) transparent as it seems. In the context of the uptake and critique of Deleuzian ideas in the theorisation of music and sound, as well as recent re-evaluations of the milieu of “experimental music,” critics have argued that a range of normative demands, ideological assumptions, and metaphysical reductions undermine the purported freedoms of both Cagean and Deleuzian experimentalism. -/- Here I can only deal with a small aspect of the wide historical and theoretical problem this involves; but in short my aim is to begin to construct a means through which Deleuze and Guattari’s thought can be used to help us examine some strategies that composers and performers in post-Cagean musical experimentalism developed to navigate around the demands, assumptions, and reductions of Cage’s thought. (shrink)