El presente libro recopila algunas de las mejores investigaciones presentadas en el “IX Coloquio Internacional de Estética y Arte” en La Habana en diciembre del 2015, redactadas ahora a modo de artículos. La estética y el arte a debate II está compuesto por 27 artículos y se encuentra dividido en cinco bloques que, de alguna manera, reflejan las temáticas centrales alrededor de las cuales giró el encuentro del 2015. Los bloques temáticos son: 1 Arte, estética y política, (...) 2 Cine y medios audiovisuales, 3 Nuevas prácticas artísticas, 4 Arte y cuerpo y 5 Miradas clásicas. (shrink)

El presente trabajo explora las características con las que Immanuel Kant determina qué es el sentimiento de lo bello experimentado en la naturaleza y en el arte. Tomando como punto de partida algunos elementos del surgimiento de la Estética en el siglo XVIII, se concentra en el estudio del trabajo artístico y muestra cómo el proceso creativo del artista se fundamenta en la producción y no en la reproducción mimética de la naturaleza. Con el propósito de explicar este (...) tránsito, se revisan las reflexiones de uno de los antecesores de Kant: Moses Mendelssohn. Además, se señala cómo ambos pensadores divergen en sus teorías estéticas a pesar de que ambos concuerdan en rechazar la mímesis como principio de la producción artística. Finalmente, se determina la experiencia de lo bello como la complacencia en la conformidad a fin sin fin en el que se reproduce el libre juego de las facultades de imaginación y entendimiento, y se atribuye al genio del artista el singular talento de adecuar su obrar en función a dicho juego. (shrink)

En este artículo se cuestiona si el arte, y el objeto estético en general (lo bello) puede ser pensado desde la perspectiva de la nueva corriente filosófica del realismo especulativo. El asunto es enfocado bajo una doble perspectiva: lo que sería una concepción ontológica de lo estética y lo que sería una concepción estética de la ontología. Sólo bajo este doble enfoque es posible responder al desafío que lo estético plantea al pensamiento ontológico en general.

Fino a vent’anni fa il nome di Solger, uno dei pensatori più significativi del Romanticismo tedesco, certo il più sistematico e filosoficamente attrezzato tra i protagonisti di quella grande stagione, era noto in Italia, anche fra gli studiosi di estetica, quasi soltanto per la menzione che delle sue teorie viene fatta nelle Lezioni di Estetica di Hegel. Nel giro di pochi anni, però, la situazione è radicalmente cambiata. Sono state tradotte le sue Lezioni di estetica, apparse postume nel 182...

Publicado por primera vez en 1982 y merecedor del Premio Nacional de Ensayo en 1983, Lo bello y lo siniestro es un texto imprescindible para comprender la historia de las ideas estéticas y de la teoría del arte. Mediante el análisis de obras diversas -desde las pinturas renacentistas de Sandro Botticelli hasta la célebre película Vertigo de Alfred Hitchcock- el genial filósofo valora la evolución histórica de dos categorías estéticas opuestas, lo bello y lo siniestro, para descubrir (...) lo que ambas tienen de sublime. Eugenio Trías persigue y consigue incansablemente para ofrecer al lector uno de los ensayos más descollantes de nuestro tiempo. (shrink)

Para este trabajo lo que queremos hacer es un análisis general del arte, así como de sus implicaciones en lo social y en quienes trabajan el aspecto artístico, además de cuestionarnos qué es el arte y qué posibles efectos represente en el público que lo consume o lo adquiere; nuestro escrito no contiene un aparato crítico como tal, sino lo que más bien hacemos es una reflexión en torno a los pormenores señalados, aclarando que las fuentes que se (...) presentan al final del escrito, son de referencia y las mismas que se emplearon para elaborar y dar luz a esta reflexión. (shrink)

Planteo una lectura del Wallenstein de Friedrich Schiller como una puesta en escena (Darstellung) de las categorías de lo bello y lo sublime, así como de otras categorías poéticas derivadas, como lo ingenuo y lo sentimental, el idilio y la elegía o la sátira patética y la festiva. Este ejercicio artístico también le permite a Schiller experimentar y desarrollar sus propias ideas estéticas y poéticas y, de este modo, se desarrolla un auténtico diálogo entre el arte y la (...) filosofía en la obra de uno de los clásicos alemanes de la modernidad. Una de las conclusiones es que con el Wallenstein se clausura una comprensión idealista del mundo, pues, como señala Villacañas a través de Hegel, no tiene final de teodicea. (shrink)

This note introduces the biography and the activities of Moodibbo Bello Aamadu, a Muslim scholar based in northern Cameroon who has invented an original alphabet for the writing of Fulfulde. Although Moodibbo Bello’s Fulfulde alphabet has not been in use beyond a restricted circle of his students, this attempt constitutes an important addition to our knowledge of indigenous African writing systems. The apparently curious record of Fulfulde, a language for which at least three different alphabets (besides ‘ajamī) have (...) been already documented in the literature, can be explained by the historical role of the Fulfulde-speaking Muslim scholars as vehicles of literacy across the western, central and eastern Sudan. [This is the abstract which accompanies the essay]. (shrink)

ÁNGEL GONZÁLEZ GARCÍA: Arte y Terror, Barcelona, Mudito & Co, 2008, 196 pp.

The idea of “just war” is not alien to Chinese thought. The term “yi zhan” (usually translated as “just war” or “righteous war” in English) is used in Mencius, was renewed by Mao Zedong, and is still being used in China today (zhengyi zhanzheng). The best place to start exploring this Chinese idea is in the enormous Art of War corpus in premodern China, of which the Seven Military Classics is the best representative. This set of treatises served as the (...) military bible in imperial China from 1078 CE. Ideas analogous to ius ad bellum and ius in bello can be found in these texts. These norms are present in these military texts, elaborated in subsequent commentaries, understood as a matter of fact in Chinese political history, and recently and briefly acknowledged by a few Chinese military scholars in the mainland and in Taiwan. This Chinese just war ethics has its distinctiveness vis-à-vis James Turner Johnson's articulation of the Western classic view. It differs from Johnson's claims that military lethal violence is intrinsically morally neutral and that last resort is not a primary consideration in deciding for war. Contemporary Chinese People's Liberation Army (PLA) military publications show that the PLA understands the general idea of just war, but they acknowledge only the ad bellum part, not the in bello components. (shrink)

- La Disumanizzazione dell'arte si apre con un riferimento all'opera del filosofo Jean-Marie Guyau, L'art au point de vue sociologique, riferimento che diventa polemico dal momento in cui Ortega, al proporre una sua definizione «del punto di vista sociologico», si situa agli antipodi del pensatore francese. Questi afferma la natura sociale dell'arte, mentre Ortega riscontra la feconditÀ della sociologia nello studio dell'arte dal lato dei suoi effetti sociali. In questa discrepanza abbiamo incontrato da un lato un ‘ritorno (...) a Kant', a partire dall'affermazione della sociabilitÀ come condizione dell'arte, e cioč del fatto che il sentimento individuale del bello č condiviso a priori da tutti e, dall'altro, l'acuta analisi dello «zoologo» che scopre nell'arte l'origine, non della comunitÀ universale kantiana, ma della distinzione tra coloro che intendono e coloro che non intendono. (shrink)

En este artículo nos proponemos indagar acerca del lugar y significado que asume la categoría de autonomía estética en lo que Hegel denomina “consideración liberal de lo bello”. A tales fines, analizamos los aspectos de su teoría de la religión del arte, cuyo modelo puede encontrarse en la organización ético-política de la polis griega, así como también los presupuestos filosóficos de su célebre teorema acerca del carácter pasado del arte “en su determinación suprema”. La hipótesis que nos (...) guía en esta lectura sostiene que la estética hegeliana se encuentra tensionada por un movimiento doble que impide ubicar al arte en un lugar fijo: al mismo tiempo en que sostiene la necesidad de una categoría de libertad para la determinación conceptual de lo bello, ella es motivo de una constante complejización por una perspectiva que la excede. Esa perspectiva filosófico-histórica se fundamenta en una categoría del sujeto moral que justifica la interpretación del arte como medio de tránsito hacia figuras más avanzadas del espíritu. (shrink)

La obra del padre Pedro José Márquez ha sido poco estudiada. Las historias y los estudios de pensamiento novohispano más asequibles no lo incluyen, aunque no ha dejado de haber, empero, recuerdo y crítica del "Docto mexicano". Se entiende por Estética, en general y propiamente dicha, la rama de la filosofía que se aboca al estudio de la sensibilidad que, orientada por el intelecto, es el aparato con el que se capta la belleza. Así pues la Estética es, en primer (...) lugar, filosofía de la sensibilidad y filosofía de la belleza. Pero la Estética conecta con las artes. Así pues, la Estética, en segundo lugar, es filosofía del arte. Este es el camino que siguió el padre Pedro José Márquez. El propósito de este trabajo es demostrar que la Estética del padre jesuita, especialmente en su discurso titulado Sobre lo bello en general, es una filosofía de la sensibilidad, de la belleza y del arte. Se aprovecharán los recursos teóricos y prácticos que aporta la Hermenéutica analógica. Este trabajo estará dividido en dos partes. En la primera se presentan los contextos de Sobre lo bello en general; y, en la segunda, se tratarpa la Estética del padre jesuita. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 116-120 [Access article in PDF] Art History in the Age of Bellori: Scholarship and Cultural Politics in Seventeenth-Century Rome, edited by Janis Bell and Thomas Willette. Cambridge: Cambridge Universtiy Press, 2002, 396 pp. Giovan Pietro Bellori is a name familiar to all who have studied seventeenth-century Italian art. His magisterial book, The Lives of the Modern Painters, Sculptors, and Architects (Le vite (...) de' pittori, scultori, ed architetti moderni), published in Rome in 1672, continued in the grand tradition of artists' biographies established by Giorgio Vasari in the sixteenth century, while at the same time espousing a classical theory of artistic creation that has often been seen as the foundation of academic classicism, popular well into the nineteenth century. He is, in other words, an immensely significant figure, as a source of information on artists' lives, and, more importantly, as a cogent, early spokesperson for one of the dominant aesthetic modes of Western European culture.Given this importance, the relative dearth of publications dedicated toBellori, especially in the Anglo-American world, is surprising. PerhapsBellori's famously negative assessment of Caravaggio, or his complete avoidance of two of the most successful Italian artists of the seventeenth century, Pietro da Cortona and Gian Lorenzo Bernini, account for the scarcity ofscholarly treatments, or maybe his supposed insistence that all great art should be grounded in rules is to blame. The reasons are hard to pin down, but the volume of essays under consideration here goes some significant way towards rectifying the situation. Stemming from a 1996 conference organized by the Association for Textual Scholarship in Art History and held at the American Academy in Rome, the volume is divided into two roughly equal sections, one on "Bellori and the Republic of Letters in Seventeenth-Century Rome," and the other on "Bellori's Lives: History, Criticism, Theory." It comprises twelve essays, including a long and very useful introduction by Janis Bell, one of the editors of the book. The overall goal of the collection is to treat Bellori's activity as a whole, rather than focus single-mindedly on the Lives. After all, as Bell points out, the preponderance of Bellori's publishing was not dedicated to aesthetic theory, or even artists' biographies, but to antiquarian studies. In this, the present volume is very different from the other major new work on Bellori, a two-volume cataloguepublished in 2000 to accompany anexhibition held at the Palazzo delle Esposizioni in Rome, L'idea del Bello: viaggio per Roma nel Seicento con Giovan Pietro Bellori. The exhibition did acknowledge Bellori's antiquarian interests, but was aimed principally at something else: making visible his aesthetic theory. Unfortunately, the authors of Art History in the Age of Belloriwere not able to take into account fully [End Page 116] the conclusions of this important study,although it should be noted that several authors are represented in both publications.The first group of essays in the book, six in number, treats a wide range of themes, with the intention of crafting a context, both literary and political, for understanding Bellori's achievement. Giovanna Perini's essay, the first of section one, describes Bellori's career trajectory, and, more significantly, how this path had an impact on his life as a scholar. Bellori did not come from the wealthiest stratum of society. On the contrary, he was of relatively modest means, which meant that he had to rely on employment income. One implication of being economically beholden to his employers was that his writing had to conform to their political agendas. The Vite, for instance, are famous for lionizing the French artist Nicolas Poussin, of obvious appeal to his Francophile patrons. Diego Velázquez, however, was not included in the Vite, perhaps because he was Spanish and would thus have appealed to the opposing political faction in Rome at the time, which was linked to Spain. At the same time, Perini convincingly argues that Bellori's own voice was not drowned out in the process... (shrink)

En el presente artículo, exploramos las conexiones que existen entre el arte culinario y la obra poética de Sor Juana Inés de la Cruz. En particular, usamos un estudio detallado de las analogías que emergen entre la comida y la preparación culinaria por un lado, y la poesía y la composición poética, por otro lado. En este artículo mostramos que el arte culinario funciona como causa o catalizador de la creación poética y que existe una relación íntima y (...) profunda entre el buen sazón, lo bello, y el bien para la monja jerónima. (shrink)

Resumen: El presente artículo constituye un aporte al conocimiento del arte en su vinculación con la filosofía y el psicoanálisis, en tanto aborda la tensión entre la representación y la construcción simbólica de la imagen artística en el contexto cultural/estético contemporáneo, mediante la relación entre lo Real lacaniano y la estática negativa de Adorno. Dicha relación encuentra su punto de articulación en el fenómeno estético de lo Bello, entendido como lo que encara al sujeto con el vacío de (...) su deseo radical, sin engañarlo y que permite integrar la negatividad propia de lo Real con los elementos formales que componen la obra artística, así como con los conceptos de radicalidad y autenticidad de la propuesta adorniana. La articulación entre la estética negativa de Adorno y el efecto estético de lo Bello de Lacan, se ejemplifica con una interpretación en clave psicoanalítica de la obra de la artista colombiana Doris Salcedo. Abstract: This article constitutes a contribution to the knowledge of art in its connection with philosophy and psychoanalysis, as it approaches to the tension between the representation and the symbolic construction of the artistic image in the contemporary cultural / aesthetic context, through the relationship between the Lacanian Real and Adorno's negative aesthetic. This relationship finds its articulation point in the aesthetic phenomenon of the Beautiful, understood as what confronts the subject with the emptiness of its radical desire, without deceiving it and that allows to integrate the Real´s negativity with the formal elements that make up the artistic work, as well as the Adornian proposal concepts of radicality and authenticity. At the end, a psychoanalytic interpretation of colombian artist Doris Salcedo’s work is made, in which the negative aesthetics and the aesthetic effect of the Beautiful are integrated. (shrink)

Resumen: El presente artículo constituye un aporte al conocimiento del arte en su vinculación con la filosofía y el psicoanálisis, en tanto aborda la tensión entre la representación y la construcción simbólica de la imagen artística en el contexto cultural/estético contemporáneo, mediante la relación entre lo Real lacaniano y la estática negativa de Adorno. Dicha relación encuentra su punto de articulación en el fenómeno estético de lo Bello, entendido como lo que encara al sujeto con el vacío de (...) su deseo radical, sin engañarlo y que permite integrar la negatividad propia de lo Real con los elementos formales que componen la obra artística, así como con los conceptos de radicalidad y autenticidad de la propuesta adorniana. La articulación entre la estética negativa de Adorno y el efecto estético de lo Bello de Lacan, se ejemplifica con una interpretación en clave psicoanalítica de la obra de la artista colombiana Doris Salcedo. Abstract: This article constitutes a contribution to the knowledge of art in its connection with philosophy and psychoanalysis, as it approaches to the tension between the representation and the symbolic construction of the artistic image in the contemporary cultural / aesthetic context, through the relationship between the Lacanian Real and Adorno's negative aesthetic. This relationship finds its articulation point in the aesthetic phenomenon of the Beautiful, understood as what confronts the subject with the emptiness of its radical desire, without deceiving it and that allows to integrate the Real´s negativity with the formal elements that make up the artistic work, as well as the Adornian proposal concepts of radicality and authenticity. At the end, a psychoanalytic interpretation of colombian artist Doris Salcedo’s work is made, in which the negative aesthetics and the aesthetic effect of the Beautiful are integrated. (shrink)

Suppose one hundred prisoners are in a yard under the supervision of a guard, and at some point, ninety-nine of them collectively kill the guard. If, after the fact, a prisoner is picked at random and tried, the probability of his guilt is 99%. But despite the high probability, the statistical chances, by themselves, seem insufficient to justify a conviction. The question is why. Two arguments are offered. The first, decision-theoretic argument shows that a conviction solely based on the statistics (...) in the prisoner scenario is unacceptable so long as the goal of expected utility maximization is combined with fairness constraints. The second, risk-based argument shows that a conviction solely based on the statistics in the prisoner scenario lets the risk of mistaken conviction surge potentially too high. The same, by contrast, cannot be said of convictions solely based on DNA evidence or eyewitness testimony. A noteworthy feature of the two arguments in the paper is that they are not confined to criminal trials and can in fact be extended to civil trials. (shrink)

Many oppose the use of profile evidence against defendants at trial, even when the statistical correlations are reliable and the jury is free from prejudice. The literature has struggled to justify this opposition. We argue that admitting profile evidence is objectionable because it violates what we call “equal protection”—that is, a right of innocent defendants not to be exposed to higher ex ante risks of mistaken conviction compared to other innocent defendants facing similar charges. We also show why admitting other (...) forms of evidence, such as eyewitness, trace, and motive evidence, does not violate equal protection. (shrink)

The literature on algorithmic fairness has examined exogenous sources of biases such as shortcomings in the data and structural injustices in society. It has also examined internal sources of bias as evidenced by a number of impossibility theorems showing that no algorithm can concurrently satisfy multiple criteria of fairness. This paper contributes to the literature stemming from the impossibility theorems by examining how informational richness affects the accuracy and fairness of predictive algorithms. With the aid of a computer simulation, we (...) show that informational richness is the engine that drives improvements in the performance of a predictive algorithm, in terms of both accuracy and fairness. The centrality of informational richness suggests that classification parity, a popular criterion of algorithmic fairness, should be given relatively little weight. But we caution that the centrality of informational richness should be taken with a grain of salt in light of practical limitations, in particular, the so-called bias-variance trade off. (shrink)

Smith argues that, unlike other forms of evidence, naked statistical evidence fails to satisfy normic support. This is his solution to the puzzles of statistical evidence in legal proof. This paper focuses on Smith’s claim that DNA evidence in cold-hit cases does not satisfy normic support. I argue that if this claim is correct, virtually no other form of evidence used at trial can satisfy normic support. This is troublesome. I discuss a few ways in which Smith can respond.

El texto de Martin Heidegger Was ist das - die Philosophie? es una de las obras claves para hacer una hermenéutica de su pensamiento. En ella se explica como lo que pretendía la filosofía en su origen no tiene un correlato con sus conquistas a lo largo de la tradición, que están más bien teñidas de un tinte racionalista que obvia los estados afectivos, tan necesarios para entender el pensar filosófico. De este modo, volvemos con Heidegger a remontarnos al inicio (...) de la filosofía, hasta Heráclito, para así poder establecer unas pautas que nos ayuden en nuestras disquisiciones dentro del filosofar. Para ello será necesario retomar el verdadero sentido griego de λὀγος tal y como fue planteado por Heráclito: como fluir y como lucha. (shrink)

We study ultraproducts of finite residue rings \ where \ is a non-principal ultrafilter. We find sufficient conditions of the ultrafilter \ to determine if the resulting ultraproduct \ has simple, NIP, \ but not simple nor NIP, or \ theory, noting that all these four cases occur.

Many philosophers have pointed out that statistical evidence, or at least some forms of it, lack desirable epistemic or non-epistemic properties, and that this should make us wary of litigations in which the case against the defendant rests in whole or in part on statistical evidence. Others have responded that such broad reservations about statistical evidence are overly restrictive since appellate courts have expressed nuanced views about statistical evidence. In an effort to clarify and reconcile, I put forward an interpretive (...) analysis of why statistical evidence should raise concerns in some cases but not others. I argue that when there is a mismatch between the specificity of the evidence and the expected specificity of the accusation, statistical evidence—as any other kind of evidence—should be considered insufficient to sustain a conviction. I rely on different stylized court cases to illustrate the explanatory power of this analysis. (shrink)

In recent years, animal welfare has become an important element of sustainable production that has evolved along with the transformation of animal production systems. Consumer attitudes towards farm animal welfare are changing around the world, especially at emerging markets of Asia, Africa and Latin America. Survey-based research on consumer attitudes towards farm animal welfare has increased. However, the geographical coverage of studies on consumer attitudes and perceptions about farm animal welfare has mostly been limited to Europe, and North America. Until (...) now, Latin American consumers’ attitudes towards animal welfare have not been well studied. Despite the fact that Mexico, Chile and Brazil belong to the same region, there are marked differences between these countries in terms of their economical and geographical characteristics among other factors. Those differences potentially have an impact on consumer attitudes towards animal welfare and livestock production systems in general. Given the evidence from the literature review, it seems advisable that Latin American producers and food industry who engage in animal welfare-enhancing practices should clearly label their products with information on the type of husbandry system to reach those consumers who want to make an informed choice. Therefore, there are some aspects that need to be studied and cannot be worked separately in order to promote and understand consumer attitudes towards dairy and beef systems, such as geography, economic development, and politics. (shrink)

Herein we make a plea to machine ethicists for the inclusion of constraints on their theories consistent with empirical data on human moral cognition. As philosophers, we clearly lack widely accepted solutions to issues regarding the existence of free will, the nature of persons and firm conditions on moral agency/patienthood; all of which are indispensable concepts to be deployed by any machine able to make moral judgments. No agreement seems forthcoming on these matters, and we don’t hold out hope for (...) machines that can both always do the right thing (on some general ethic) and produce explanations for its behavior that would be understandable to a human confederate. Our tentative solution involves understanding the folk concepts associated with our moral intuitions regarding these matters, and how they might be dependent upon the nature of human cognitive architecture. It is in this spirit that we begin to explore the complexities inherent in human moral judgment via computational theories of the human cognitive architecture, rather than under the extreme constraints imposed by rational-actor models assumed throughout much of the literature on philosophical ethics. After discussing the various advantages and challenges of taking this particular perspective on the development of artificial moral agents, we computationally explore a case study of human intuitions about the self and causal responsibility. We hypothesize that a significant portion of the variance in reported intuitions for this case might be explained by appeal to an interplay between the human ability to mindread and to the way that knowledge is organized conceptually in the cognitive system. In the present paper, we build on a pre-existing computational model of mindreading (Bello et al. 2007) by adding constraints related to psychological distance (Trope and Liberman 2010), a well-established psychological theory of conceptual organization. Our initial results suggest that studies of folk concepts involved in moral intuitions lead us to an enriched understanding of cognitive architecture and a more systematic method for interpreting the data generated by such studies. (shrink)