En el siglo XIX, médicos europeos desarrollaron estudios científicos sobre técnica vocal y su aplicación artística. Profesionales y aficionados al canto deseaban conocer estos nuevos recursos y descubrimientos sobre la fonación, la respiración y las últimas tendencias interpretativas. El objetivo de esta investigación es documentar a través de una metodología descriptiva las principales innovaciones en la técnica vocal que se presentaron en cinco tratodos españoles de canto publicados en la segunda mitad del siglo XIX. La incorporación (...) de estos avances influyeron de forma directa en la enseñanza del canto. (shrink)

Resumen: El desarrollo del arte de la ópera china en la época moderna ha cambiado mucho con el tiempo. Explicar la esencia del arte de la ópera china y la música vocal desde la teoría de la hermenéutica y la estética de la recepción occidental moderna es beneficioso para ordenar el contexto y las características de desarrollo de la ópera china en diferentes momentos. Al mismo tiempo, proporcionar un método de análisis sistemático para la estética moderna de la ópera (...) y la música vocal promueve el desarrollo estético del arte y contribuye a la innovación de la forma y la refinación técnica del arte de la ópera y la música vocal nacional. La investigación comienza con el análisis teórico de la hermenéutica y la estética de la recepción y verifica y explora la historia de desarrollo de la ópera china. El análisis de la esencia artística de la ópera y la música vocal se resumirá principalmente desde la perspectiva del objeto del texto operístico y el sujeto del público estético. El propósito de esta investigación es explicar las características esenciales del arte de la ópera y la música vocal desde la relación entre el sujeto y el objeto. Además, tiene como objetivo examinar la relación entre el comportamiento de comprensión de las masas y el comportamiento de resumen de los creadores y artistas para el arte de la ópera y la música vocal. (shrink)

Prendendo le mosse dall’esame del ciclo pianistico Quatre études de rythme, di Olivier Messiaen , scritto fra il 1949 e il 1950, l’articolo delinea un sintetico confronto fra due differenti espressioni dell’arte musicale. Da un lato una composizione della metà del Novecento: repertorio profano, strumentale, frutto di concezioni individuali, testimonianza della fase post-tonale del pensiero musicale. Dall’altro la monodia gregoriana: repertorio sacro, vocale, anonimo, che esprime concetti formali pre-tonali. Occasione di tale raffronto è l’indagine sulla portata concettuale e tecnica di (...) termini chiave come “modo” e “neuma”, che Messiaen mutua dalla teoria musicale medioevale facendone oggetto di riflessione teorica e principio di concezioni tecniche. L’articolo tenta di sondare la complessa trama di rapporti mediante la quale due espressioni artistiche apparentemente agli antipodi entrano in contatto e si illuminano a vicenda. Expanding on the study of the piano cycle Quatre Études de Rythme by Olivier Messiaen , composed in 1949–1950, this article provides a brief comparison between two different expressions of art music. On the one hand we have a composition dating back to the mid-1900s: profane instrumental music, the result of individual conceptions, bearing witness to the post-tonal development in musical thought. On the other, Gregorian monody: sacred vocal music, anonymous, expressing formal pre-tonal concepts. This comparison is developed by looking at the conceptual and technical meaning of key terms, such as “mode” and “neume”, which Messiaen turned from Mediaeval musical theory into subjects for theoretical reflection and a principle of technical conceptions. The article sets out to discuss their complex inter-relationships whereby these two artistic, seemingly opposing, expressions converge and are thus reciprocally enhanced. (shrink)

Modeling of evolution and development of language has principally utilized mature units of spoken language, phonemes and words, as both targets and inputs. This approach cannot address the earliest phases of development because young infants are unable to produce such language features. We argue that units of early vocal development—protophones and their primitive illocutionary/perlocutionary forces—should be targeted in evolutionary modeling because they suggest likely units of hominin vocalization/communication shortly after the split from the chimpanzee/bonobo lineage, and because early development (...) of spontaneous vocal capability is a logically necessary step toward vocal language, a root capability without which other crucial steps toward vocal language capability are impossible. Modeling of language evolution/development must account for dynamic change in early communicative units of form/function across time. We argue for interactive contributions of sender/infants and receiver/caregivers in a feedback loop involving both development and evolution and propose to begin computational modeling at the hominin break from the primate communicative background. (shrink)

There exists substantial cultural variation in how emotions are expressed, but there is also considerable evidence for universal properties in facial and vocal affective expressions. This is the first empirical effort examining the perception of vocal emotional expressions across cultures with little common exposure to sources of emotion stimuli, such as mass media. Shuar hunter-horticulturalists from Amazonian Ecuador were able to reliably identify happy, angry, fearful and sad vocalizations produced by American native English speakers by matching emotional spoken (...) utterances to emotional expressions portrayed in pictured faces. The Shuar performed similarly to English speakers who heard the same utterances in a content-filtered condition. These data support the hypothesis that vocal emotional expressions of basic affective categories manifest themselves in similar ways across quite disparate cultures. (shrink)

Walter of Bibbesworth’s late thirteenth-century versified treatise on French vocabulary relevant to the management of estates in Britain has the first extensive list of animal vocalizations in a European vernacular. Many of the Anglo-Norman French names for animals and their sounds are glossed in Middle English, inviting both diachronic and synchronic views of the capacity of these languages for onomatopoetic formation and reflection on the interest of these social and linguistic communities in zoosemiotics.

Walter of Bibbesworth’s late thirteenth-century versified treatise on French vocabulary relevant to the management of estates in Britain has the first extensive list of animal vocalizations in a European vernacular. Many of the Anglo-Norman French names for animals and their sounds are glossed in Middle English, inviting both diachronic and synchronic views of the capacity of these languages for onomatopoetic formation and reflection on the interest of these social and linguistic communities in zoosemiotics.

El ser humano precisa de la técnica para vivir y desarrollarse en todas sus dimensiones, biológicas, sociales y espirituales. La técnica, por su parte, cobra sentido cuando es puesta precisamente al servicio del desarrollo humano. Pero lo técnico ha ido desplegándose a lo largo de la historia en diversas modalidades: de la simple técnica hemos pasado a la tecnología, después a la tecnociencia, de ahí a la biotecnología y, en última instancia, a la antropotecnia. En los últimos (...) años algunos pensadores han propuesto emplear lo técnico sobre el propio ser humano, para transformarlo en un ser posthumano. Tanto Husserl como la escuela de Frankfurt habían denunciado ya la pérdida del sentido provocada por la absolutización de la razón instrumental. Nosotros detectamos que el riesgo del sinsentido se intensifica cuando lo técnico se aplica sin criterio, sin otra razón que la puramente instrumental, sobre el propio ser humano. Argumentamos que, si este proyecto antropotécnico se cumpliese, probablemente lo técnico mismo perdería su sentido y vería posiblemente debilitado su propio crecimiento. Entendemos que la respuesta, con todo, no ha de ir en la línea neoludita, sino en la línea de la actitud que Heidegger denominó serenidad. (shrink)

Complex vocal learning, the capacity to imitate new sounds, underpins the evolution of animal vocal cultures and song dialects and is a key prerequisite for human speech and song. Due to its relevance for the understanding of cultural evolution and the biology and evolution of language and music, the trait has gained much scholarly attention. However, while we have seen tremendous progress with respect to our understanding of its morphological, neurological and genetic aspects, its peculiar phylogenetic distribution has (...) remained elusive. Intriguingly, animals as distinct as hummingbirds and humpback whales share well-developed vocal learning capacity in common with humans, while this ability is quite limited in nonhuman primates. Yet, solving this ‘vocal learning conundrum’ may shed light on the constraints ancestral humans overcame to unleash their vocal capacities. To this end I consider major constraints and functions that have been proposed. I highlight an especially promising ecological constraint, namely the spatial dimensionality of the environment. Based on an informal comparative review, I suggest that complex vocal learning is associated with three-dimensional habitats such as air and water. I argue that this is consistent with recent theoretical advances—i.e., the coercion-avoidance and dimensionality hypotheses—and with the long-standing hypothesis that mate choice is a major driver of the evolution and origin of complex vocal learning. However, I stress that multiple functions may apply and that quantitative phylogenetic comparative methods should be employed to finally resolve the issue. (shrink)

Este trabajo estudia las transformaciones de las operaciones productivas y receptivas del arte contemporáneo a partir de sus encuentros y desencuentros con la tecnociencia. Se advierte que la creciente inespecificidad de la esfera del arte, sus relaciones controvertidas con el pasado artístico y con las formas técnicas de la memoria, sus efectos en las configuraciones del sistema perceptivo humano, modifican los conceptos de arte, así como su función social. Se sostiene, además, que estas mutaciones dan lugar a una meta-reflexión estética, (...) epistemológica y política sobre la propia condición humana en sus complejos vínculos con el sistema tecnocientífico e industrial. (shrink)

Low mean fundamental frequency (F 0) in men’s voices has been found to positively influence perceptions of dominance by men and attractiveness by women using standardized speech. Using natural speech obtained during an ecologically valid social interaction, we examined relationships between multiple vocal parameters and dominance and attractiveness judgments. Male voices from an unscripted dating game were judged by men for physical and social dominance and by women in fertile and non-fertile menstrual cycle phases for desirability in short-term and (...) long-term relationships. Five vocal parameters were analyzed: mean F 0 (an acoustic correlate of vocal fold size), F 0 variation, intensity (loudness), utterance duration, and formant dispersion (D f , an acoustic correlate of vocal tract length). Parallel but separate ratings of speech transcripts served as controls for content. Multiple regression analyses were used to examine the independent contributions of each of the predictors. Physical dominance was predicted by low F 0 variation and physically dominant word content. Social dominance was predicted only by socially dominant word content. Ratings of attractiveness by women were predicted by low mean F 0, low D f , high intensity, and attractive word content across cycle phase and mating context. Low D f was perceived as attractive by fertile-phase women only. We hypothesize that competitors and potential mates may attend more strongly to different components of men’s voices because of the different types of information these vocal parameters provide. (shrink)

Asif A. Ghazanfar,1,3,* Hjalmar K. Turesson,1,3 statistical pattern recognition [16, 17] and psychophys- Joost X. Maier,1 Ralph van Dinther,2 ics [13, 18–23] have suggested that formants are signif- Roy D. Patterson,2 and Nikos K. Logothetis1 icant contributors to these indexical cues. It is likely, 1Max Planck Institute for Biological Cybernetics then, that detecting formants could have provided 72076 Tuebingen ancestral primates with indexical cues necessary for Germany navigating the complex social interactions that are the 2Centre for the Neural Basis of (...) Hearing essence of primate societies. One important indexical Department of Physiology cue is body size. Formant cues related to body size University of Cambridge could be used by monkeys to determine the sex (in sex- CB2 3EG Cambridge ually dimorphic species), degree of potential threat (e.g., United Kingdom whether a competitor is larger or smaller), and/or age of an individual, as such cues do for human listeners [13, 18, 20, 21]. Summary Formants are the result of acoustic filtering by the supralaryngeal vocal tract—the nasal and oral cavities Vocal-tract resonances (or formants) are acoustic sigabove the vocal folds. During vocal production, pulses natures in the voice and are related to the shape and of air generated by the rapid movement of the vocal length of the vocal tract. Formants play an important folds produce an acoustic signal. The frequency of these role in human communication, helping us not only to pulses—the glottal-pulse rate—determines the fundadistinguish several different speech sounds [1], but mental frequency of the signal, which in turn is perceived also to extract important information related to the as pitch. As the signal passes through the supralaryngphysical characteristics of the speaker, so-called ineal vocal tract, it excites resonances, resulting in the dexical cues. How did formants come to play such an enhancement of particular frequency bands; these are important role in human vocal communication? One the formants.. (shrink)

Feminist theory has produced a robust literature on embodiment that explores phenomena such as maternity, mobility, ability, and aging. However, the field has produced surprisingly few analyses of the bodily phenomenon of voice; references to voice in the context of critical theory are almost entirely metaphorical in nature, a relegation that obscures the philosophical relevance of voice as embodied phenomenon. Using insights garnered from the fields of sound studies and musicology, I argue that contemporary feminist theory should address the social, (...) political, and ethical meanings of the bodily, material phenomenon of vocality. Specifically, I argue that vocality is better understood as intervocality, that it is an existentially significant aspect of identity, and that it is implicated in systematic inequality and social relations in meaningful ways. I critique Adriana Cavarero’s approach to vocal justice, demonstrating that it does not sufficiently take up the challenges of intervocality. The article concludes with some preliminary remarks regarding a conceptualization of vocal justice. (shrink)

Lipkind et al. compare the development of vocal units and sound sequences in sound production in human infants and songbirds. Early in development, infant as well as songbird vocalizations vary along continuous acoustic parameters, with discrete vocal categories and structured vocalizations only emerging later on. This emergence process shows remarkable similarities between infants and zebra finches. Contrary to earlier views, Lipkind et al. suggest that the early development of songbird song (subsong) is more comparable to the phonation stage (...) in infants than to babbling. (shrink)

The urgency of the research is determined by the intensive development of new technologies as prospects for further development of society. Art accumulates intellectual, spiritual, material, and value heritage of previous epochs and determines the perspective features of the future. Vocal art is thereby one of the manifestations of individual ideological rethinking. Variety as a socio-cultural phenomenon combines different styles of music, genres, types, and aspects of professional music and vocal performance, which is important for the research in (...) the context of social rethinking of future social development. Objective of the article is to determine specifics of pop vocal art, its long-term development as an aspect of integration into society of the future. The article reflects the essential characteristics of the concept of pop vocal art and worldview perception of art as an aspect of the future society. In the process of research a method of abstraction, descriptive method, methods of analysis and synthesis were used in the theoretical substantiation and characterization of pop music as a vocal art. The method of generalization and systematization was used to determine the results of the research. The results became the basis for asserting the importance of pop vocal art in the further development of society. (shrink)

Editorial do dossiê Técnica, tecnologia e educação em Heidegger e Simondon.

Crying and laughter are innate, preverbal, species-typical vocalizations that have similarities and differences which are mutually illuminating.

La clase de filosofía, desde la perspectiva del docente, no debe considerarse como una mera actividad transeúnte o predicamental. El presente estudio quiere examinarla, siguiendo la metafísica de la vida de Tomás de Aquino, como una obra vital, que requiere, por un lado, que el profesor se haga una sola cosa —una sola vida, podemos decir— con la doctrina que va a explicar y, por el otro, que esta intelección actual, sin movimiento alguno, dé lugar a la «concepción» y al (...) «parto» de lo entendido en una palabra del corazón, la cual, por su dinamismo intrínseco, tiende, a su vez, a manifestarse exteriormente en una palabra sonora, en un «verbum vocis». Esta exteriorización, por la cual aquella íntima operación que constituye la vida del que filosofa se corporeiza en forma de «diálogo», es, precisamente, la clase de filosofía. La técnica pedagógica debe tener en cuenta el orden intrínseco por el cual la vida humana, mediante la formación de una palabra del corazón, procede a su propia perfección, y no debe olvidar que el perfeccionamiento vital del profesor es causa (instrumental) del perfeccionamiento vital del alumno; es decir, quien no «produce», quien no «engendra», quien no «crea» interiormente lo que está explicando —independientemente de si se trata o no de una novedad— difícilmente ofrecerá unos medios adecuados para que el alumno conciba y dé a luz, en la intimidad de su mente, a un «verbum cordis». (shrink)

Emotional hardcore and other music genres featuring screamed vocals are puzzling for the appreciator. The typical fan attaches appreciative value to musical screams of emotional pain all the while acknowledging it would be inappropriate to hold similar attitudes towards their sonically similar everyday counterpart: actual human screaming. Call this the screamed vocals problem. To solve the problem, I argue we must attend to the anti-sublimating aims that get expressed in the emotional hardcore vocalist’s choice to scream the lyrics. Screamed vocals (...) help us see the value in rejecting (a) restrictive social norms of emotional expressiveness and (b) restrictive artistic norms about how one ought to express or represent pain in art, namely that if one is going to do so they must ensure the pain has been ‘beautified’. In developing this second point I argue that emotional hardcore is well-suited (though not individually so) for putting pressure on longstanding views in the history of aesthetics about the formal relationship between art and human pain. (shrink)

There is debate within the literature as to whether emotion dysregulation (ED) in Attention-Deficit Hyperactivity Disorder (ADHD) reflects deviant attentional mechanisms or atypical perceptual emotion processing. Previous reviews have reliably examined the nature of facial, but not vocal, emotion recognition accuracy in ADHD. The present meta-analysis quantified vocal emotion recognition (VER) accuracy scores in ADHD and controls using robust variance estimation, gathered from 21 published and unpublished papers. Additional moderator analyses were carried out to determine whether the nature (...) of VER accuracy in ADHD varied depending on emotion type. Findings revealed a medium effect size for the presence of VER deficits in ADHD, and moderator analyses showed VER accuracy in ADHD did not differ due to emotion type. These results support the theories which implicate the role of attentional mechanisms in driving VER deficits in ADHD. However, there is insufficient data within the behavioural VER literature to support the presence of emotion processing atypicalities in ADHD. Future neuro-imaging research could explore the interaction between attention and emotion processing in ADHD, taking into consideration ADHD subtypes and comorbidities. (shrink)

Este artigo é uma exposição fragmentada de pesquisa realizada no âmbito de doutoramento no PPGArtes/UnB. Mostra-se como uma proposta cênica-pedagógica, sendo um diálogo do corpo com as técnicas e poéticas que se encontram nas expressões de artes do povo que trazem matrizes africanas. Abordar-se-á reflexões sobre os aspectos que envolvem o trabalho do artista cênico no que concerne a sua criação estética. Com isso, pretende-se corroborar com a elaboração de saberes no que concerne ao universo das artes populares na contemporaneidade.

Contra las imágenes que pretendían representar a las sociedades del siglo XXI como sociedades del conocimiento reflexivo (Beck, Giddens y Lash, 1997), en las que se habría vuelto finalmente posible un uso autorreflexivo y un control democrático de los efectos de la ciencia y la tecnología, vemos cómo reaparecen en la actualidad los viejos dilemas que Habermas había diagnosticado a finales de la década de 1960 sobre la función ideológica de la ciencia y la técnica. Tanto el dilema político, (...) que abarca el dislocamiento trágico entre la libertad y el sometimiento del sujeto que produce el discurso científico, como el dilema teórico, en el que la ciencia oscila entre la apertura y la clausura del mundo cultural, generan una serie de problemas que continúan exigiendo investigaciones teóricas y prácticas. En esta ocasión, quisiera pensar la actualidad de estos dilemas políticos y teóricos de la relación de la ciencia con la sociedad a través de una reflexión en dos pasos: primero, voy a intentar reactualizar el diagnóstico crítico que estudiaba las transformaciones de la ciencia y la técnica como nuevas formas de ideología, que seguía de cerca a las transformaciones de la esfera pública y el desarrollo de nuevas formas de poder que se justifican exclusivamente con criterios de perfeccionamiento técnico; luego, intentaré demarcar, mediante un análisis de algunos límites que este planteo podría tener en nuestra actualidad, cuáles son a mi entender los principales desafíos que la ciencia y la técnica vuelven a plantearle a nuestro mundo social contemporáneo. (shrink)

Sound moves us. Nowhere is this more apparent than in our responses to genuine emotional vocalizations, be they heartfelt distress cries or raucous laughter. Here, we present perceptual ratings and a description of a freely available, large database of natural affective vocal sounds from human infants, adults and domestic animals, the Oxford Vocal (OxVoc) Sounds database. This database consists of 173 non-verbal sounds expressing a range of happy, sad, and neutral emotional states. Ratings are presented for the sounds (...) on a range of dimensions from a number of independent participant samples. Perceptions related to valence, including distress, vocalizer mood, and listener mood are presented in Study 1. Perceptions of the arousal of the sound, listener motivation to respond and valence (positive, negative) are presented in Study 2. Perceptions of the emotional content of the stimuli in both Study 1 and 2 were consistent with the predefined categories (e.g., laugh stimuli perceived as positive). While the adult vocalizations received more extreme valence ratings, rated motivation to respond to the sounds was highest for the infant sounds. The major advantages of this database are the inclusion of vocalizations from naturalistic situations, which represent genuine expressions of emotion, and the inclusion of vocalizations from animals and infants, providing comparison stimuli for use in cross-species and developmental studies. The associated website provides a detailed description of the physical properties of each sound stimulus along with cross-category descriptions. (shrink)

Vocal affect is a subcomponent of emotion programs that coordinate a variety of physiological and psychological systems. Emotional vocalizations comprise a suite of vocal behaviors shaped by evolution to solve adaptive social communication problems. The acoustic forms of vocal emotions are often explicable with reference to the communicative functions they serve. An adaptationist approach to vocal emotions requires that we distinguish between evolved signals and byproduct cues, and understand vocal affect as a collection of multiple (...) strategic communicative systems subject to the evolutionary dynamics described by signaling theory. We should expect variability across disparate societies in vocal emotion according to culturally evolved pragmatic rules, and universals in vocal production and perception to the extent that form–function relationships are present. (shrink)

An important form of innovation involves use of the voice in a new way, usually to solve some environmental problem. Vocal innovation occurs in humans and other animals, including chimpanzees. The framework outlined in the target article, appropriately modified, may permit new perspectives on the use of others as tools, especially by infants, and the evolution of speech and language.

In this study of the functionally referential alarm calls in the meerkats, we tested the hypothesis that the ability to refer to a specific location was an important factor in the evolution of discrete vocalizations. We investigated what information receivers gained about the location of the predator from alarm calls with high stimulus specificity compared to alarm calls with low stimulus specificity. Furthermore, we studied whether visual cues about the localization of the predator may be available from the posture of (...) the caller. We described the general behaviour of the caller, the caller’s posture, and in particular its gaze direction. We then observed receivers responding to the different call types, to determine whether the acoustic structure of the calls was enough for them to respond in the appropriate way, or whether they used additional visual cues from the caller. We tested this with specific manipulation experiments, using three set ups of playback experiments: no caller visible; model guard with specific gaze direction; and live sentinel. Natural observations and experiments confirmed that in high urgency situations the meerkats have enough information from the acoustic structure of the call to respond appropriately. When hearing low urgency calls that are less stimuli specific, meerkats used visual cues as an additional source of information in a few cases. This may indicate that functionally referential calls evolved to denote the location of the predator, rather than the predator type or its velocity of approach. However, when discussing this result in comparison to other functionally referential calls, such as the food associated calls and recruitment calls, this localization hypothesis does not appear to apply to the functionally referential calls in general. (shrink)

En este artículo presentamos, a partir de ciertos escritos heideggerianos inéditos en castellano, un diálogo o discusión entre Martin Heidegger y Ernst Jünger, diálogo desde el cual podemos plantear la cuestión de la crítica a la Modernidad en el delicado momento de la experiencia de la Primera Guerra Mundial como escenario privilegiado de un mundo dominado por la técnica y el trabajo. Se trataría, para Heidegger, de pensar lo que vio y lo que no vio Jünger: el fundamento metafísico (...) de una época que se expande en el modo calculador de la dominación técnica y que se manifi esta, especialmente, en sus fenómenos políticos, bélicos y técnicos. El diálogo entre ambos autores nos permite diagnosticar el nihilismo en el final de la Modernidad occidental. (shrink)

El desarrollo de las actividades académicas durante la pandemia trajo consigo muchos cambios y nos permitió adaptarnos a los diferentes modos de llevar a cabo tareas del quehacer académico, obtener la valoración de los estudiantes universita- rios sobre la clases virtuales fue el objetivo principal de este estudio, donde median- te las técnicas provistas por la Inteligencia Artificial (IA) se ha logrado identificar una valoración negativa en general, y esto nos ha servido para categorizar también las características más relevantes de (...) esta valoración, como consecuencias a la adaptación de estos cambios en las clases virtuales. (shrink)

El presente artículo se orienta a explicar la función de los conceptos de conformidad a fin y técnica en el conjunto de una filosofía estética en la obra de Kant. A partir de la función de estos conceptos se establece la relación con los conceptos de perfección y verdad, constitutivos de la Lógica en su relación estética. En la “Crítica de la facultad teleológica”, el hombre toma conciencia de ser un organismo vivo autoformante que deviene, talento, habilidad, cultura y (...) humanidad. Conceptos reguladores de una razón que se proyecta u orienta hacia los límites de una finalidad sin fin de su propia naturaleza. Por esta razón se puede expresar el siguiente principio trascendental: el hombre es, entre todos los objetos del mundo, el único capaz del ideal de belleza. Ideal que es la representación de un ser singular en cuanto adecuado a una idea estética y que sintetiza a la humanidad en la persona de aquel hombre que “en cuanto inteligencia es del ideal de la perfección”, en cuanto idea o concepto regulador se orienta hacia la representación del límite de la conformidad a fin de su naturaleza en sus productos. (shrink)

This study explores the use of deictic gestures, vocalizations and words compared to content-loaded, or representational gestures and words in children’s early one- and two-element utterances. We analyze the spontaneous production of four children, observed longitudinally from 10–12 to 24–25 months of age, focusing on the components of children’s utterances, the information encoded, and the temporal relationship between gestures and vocalizations or words that were produced in combination. Results indicate that while the gestural and vocal modalities are meaningfully and (...) temporally integrated form the earliest stages, deictic and representational elements are unevenly distributed in the gestural vs. the vocal modality, and in one vs. two-element utterances. The findings suggest that while gestural deixis plays a primary role in allowing children to define and articulate their vocal productions, representational skills appear to be markedly more constrained in the gestural as compared to the vocal modality. (shrink)

resumo : Redescoberta a partir da década de 1990, a obra de Gilbert Simondon coloca a técnica em uma posição central na reflexão filosófica. Mais do que uma faculdade do humano, a técnica aparece em Simondon como uma afecção determinante para todo regime do coletivo e do psíquico, fundadora de configuração do modo de estar no mundo. Este artigo visa retraçar o caminho pelo qual Simondon encontra a técnica como um problema filosófico antigo e escamoteado, cuja recuperação (...) se torna urgente com a contemporânea imbricação entre a tecnologia e o devir do fenômeno humano. abstract : The work of Gilbert Simondon, recovered in the 1990s, places technicity in a central position for philosophical thought. More than a human faculty, technicity appears in Simondon as a determinant affection for the entire regime of collective and psychic existence. It finds thus a plethora of configurations of the modalities of being in the world. This essay seeks to retrace the ways in which Simondon discovers technicity as an ancient philosophical problem that has been veiled, the recovery of which becomes ever more urgent given the contemporary interpenetration between technology and the becoming of the human phenomenon. (shrink)

A partir del contexto que la crisis de la modernidad delimita, la función de la técnica ha sido objeto de controversia en el pensamiento del siglo XX. Esta aportación pretende dar cuenta de la concepción que Ortega y Blumenberg tuvieron de la técnica y de cómo se articula esa idea en su filosofía. A su vez, también pretende establecer los puntos de unión que existen en las ideas sobre la técnica que ambos filósofos defendieron en tanto que (...) estas ideas tienen validez para pensar hoy nuestra realidad. La comprensión de la técnica como el medio propio del ser humano para la realización de su proyecto vital y para su autoafirmación ofrece una mirada positiva frente a discursos que demonizan la técnica. (shrink)

El presente artículo trata de inscribir el fenómeno de la técnica en el marco de una antropología filosófica que nos permita aproximarnos a una comprensión del momento histórico del siglo XX. Para ello se analiza en primer lugar la noción de técnica propugnada por Friedrich Dessauer, esclareciéndola como un fenómeno totalizador que guarda con el hombre una relación fundamental. Posteriormente se trata la noción de técnica propuesta por Günther Anders, para quien la condición del hombre contemporáneo, inseparable (...) del acontecer técnico, se ha visto sujeta a trasformaciones esenciales. (shrink)

O objetivo do trabalho é auxiliar o jurista desocupado responsável pelo ensino da cadeira de filosofia do direito. A situação mais frequente nas faculdades de direito são as aulas de filosofia e de outras cadeiras do eixo fundamental serem tapeadas por qualquer bacharel sem nada melhor para fazer. Ocorre que tais ociosos juristas muitas vezes se veem receosos quando instituídos nos seus cargos, isso porque não possuem qualquer conhecimento na matéria em que lecionam, ao mesmo tempo em que são lançados (...) em sala de aula expostos às dúvidas e críticas dos alunos. Nesse sentido apresento a esses professores, juristas desocupados, uma técnica pedagógica resumida e de fácil compreensão para ministrarem sem maiores sobressaltos a cadeira de filosofia do direito. Seguindo os passos propostos, o jurista desocupado não terá riscos de ser questionado pelos alunos ou pela instituição, mantendo seu complemento de renda garantido. (shrink)