Fundamentos teóricos y metodológicos presentes en Historia y estilo -- Historia y estilo, importancia para la teoría del arte en Cuba.

Carlos Luna: Cuban Artist at the Crossroads is an essay appearing in the exhibition catalogue Pablo Picasso Ceramics, Carlos Luna Paintings for the exhibit of the same title installed at the Museum of Art/Fort Lauderdale from October 2, 2008 through February 23, 2009.

A collaboration with Cuban Artists. Poder is the first in a series of three books exploring issues confronting Cubans daily. Six meetings in Havana over 2.5 years- two weeks of very hard work.Power rules.We are born and are powerful because in our relationships and connections, communication and contacts, we exercise that special force/energy (Power) with which all of us without exception come into this world.Force is physical, Power is intellectual. By making art and putting together this book we have (...) chosen our way to relate to Power. All prints included illustrate, different aspects of The Relationships of Power in its various dimensions: the power of the mind, willpower, financial, military, economic power, the power of authority, social power, physical or mystical . . .After all Power is a natural condition.Yamilys Brito JorgeApril 2010. (shrink)

En la siguiente exposición se propone un comentario de la obra del filósofo cubano Pablo Guadarrama González, denominada Pensamiento filosófico latinoamericano. Humanismo, método e historia. La perspectiva humanista que es postulada contiene una serie de precisiones que son analizadas en sus implicaciones teóricas y prácticas. Asimismo, se extiende su estudio de las ideas filosóficas a distintos momentos del desarrollo particular seguido en América Latina, al igual que está acompañada esta tarea historiográfica de consideraciones metodológicas que resultan significativas. Desde el conjunto (...) de temas planteados por el autor se retoman sus aportes en relación a debates que se inscriben en el cruce disciplinario de la filosofía y la historia de las ideas, que se ubican inicialmente en el contexto latinoamericano pero aspiran a una proyección con alcances universales. We comment the Cuban philosopher Pablo Guadarrama González’s Latin American philosophical thinking. Humanism, method and history. The humanistic perspective posited therein contains some assumptions that we analyze in their theoretical and practical implications. Furthermore, we extend his study of philosophical ideas to different moments of Latin America’s particular development, being this historiographic task accompanied by significant methodological considerations. Of all the themes posed by this author, we take his contributions to the debates raised in the interdisciplinary intersection of philosophy and the history of ideas, initially located in a Latin American context but with universal projection. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:104 Feminist Studies 44, no. 1. © 2018 by Feminist Studies, Inc. Estelle Carol The Chicago Women’s Graphics Collective: A Memoir In 1973, the Chicago Women’s Graphics Collective worked in an old run-down second-floor office on Belmont Avenue, which we shared with the main offices of the Chicago Women’s Liberation Union (CWLU).1 They call it New Town now, but in 1973, there wasn’t much new about it. We weren’t (...) the only artists in the building though; downstairs was a tattoo parlor. Still, it was better than having the studio located in my apartment on Newport Street, where there were silkscreen tables in the dining room and a bathroom that doubled as a darkroom. My bedroom door opened directly into the dining room and usually reeked of the foul chemicals we used to make the posters. Just one OSHA inspection would have shut us down forever, but it was not until later that we learned about the dangers of long-term exposure. On Newport Street, the apartment was right next to the Ravenswood Branch of the “L,” and it shook like the aftershock of a California earthquake each time a train passed. But we were in the midst of a women’s revolution, and our priorities were clear. 1. The Chicago Women’s Graphics Collective (WGC) was a “workgroup” of the CWLU from the very start. There were about 25 workgroups and other groups within the CWLU. CWLU outreach to recruit new members got a lot of new women into WGC. WGC, Women’s Liberation Rock Band, and Womankind Newspaper were the cultural arms of the CWLU. Cultural outreach to attract new CWLU members and new feminists to the movement in general was critical to the CWLU’s success. In Celebration of Amazons, 194. All posters designed and silkscreened collectively by the Chicago Women’s Liberation Union, www.cwluherstory.org. Courtesy of CWLU Herstory Project. All posters are on silkscreen. Turning Through Time, Workwoven, 195. Sisterhood Is Blooming, Springtime Will Never Be the Same, 190. Chicago Women’s Labor History, 194. International Women’s Day (reprinted from a Cuban poster). ABOVE Healthcare Is for People, Not for Profit, 195. OPPOSITE Abortion Is a Personal Decision, Not a Legal Debate, 190. ABOVE Healthcare Is for People, Not for Profit, 195. OPPOSITE Abortion Is a Personal Decision, Not a Legal Debate, 190. OPPOSITE Chicago Maternity Center, 192. ABOVE Lesbian Pride, 192. Mountain-Moving Day, 192. ABOVE Detail from Mountain-Moving Day, 192. OPPOSITE Women Unite, Take Back the Night, 199. Lipstick and Blood (reprinted from a Cuban design). Women Are Not Chicks, 191. Liberation School for Women, 192. Boycott Red Coach Lettuce, 192. Working Women Unite, 195. International Women’s Day, Many Waves But One Ocean, 192. Estelle Carol 121 If you look at Chicago Women’s Graphics Collective posters, you’ll rarely see a person’s name on them, because we decided early on that art had been done all wrong by men. It was based on egotism and the cult of the individual—the great-men-of-art syndrome. So we decided to throw all that out, and art now had to be a collective experience. So every poster that we created had to be done by committee. Every one. We had a system in which any one of the collective could get an idea or a phrase or an image and decide to do a poster. They would ask two or three other members to be their assistants and to help develop the idea. And then in little teams they would physically create the poster in silk screen. It had to be a collective process. There’s no way that one single woman could really do it because we were using very primitive reproduction methods, and we needed at least three people to run the silk screen. The silk screens were all hand printed. No machines. If a poster was more than one color, it had to be hand printed, one color at a time, so it was very, very labor intensive. And... (shrink)

By analysing three works of fiction set in Havana, Fresa y Chocolate by Tomas Gutiérrez Alea and Juan Carlos Tabi, Retour à Ithaque by Laurent Cantet and Viva by Paddy Breathnach, we propose to study the Cuban capital as a sick body, as an architecturally, economically, politically and socially dilapidated organism. Its citizens struggle to survive, lacking basic necessities and trapped under a claustrophobic political and social surveillance, which the film directors convey through the use of a variety of (...) aesthetic devices. There is a form of symbiosis between Havana and its inhabitants. The characters are confined in a labyrinth of alleys, stairs and narrow corridors, enveloped in a nocturnal atmosphere. The constricted arteries through which they move show that the body of Havana lacks oxygen. Its inhabitants need to find spaces to breathe and to express their authentic selves, to regenerate. This space is to be found behind Havana’s façades, behind its closed doors and even on a roof-top terrace. These private spaces reveal the dual nature of the city and its people, and constitute pockets of liberty as well as places of catharsis. The external façade presents a socially acceptable figure while covering and protecting the authentic self. The private spaces provide the physical and mental oxygen that the soul of Havana needs to survive. It is here that individual liberties flourish, allowing rights to be asserted, and art to be both preserved and created. The premise of a spiritual transformation begins to take form. (shrink)

Existential space is lived space, space permeated by our raced, gendered selves. It is representative of our very existence. The purpose of this essay is to explore the intersection between this lived space and art by analyzing the work of the Cuban‐born artist Ana Mendieta and showing how her Siluetas Series discloses a space of exile. The first section discusses existential spatiality as explained by the phenomenologists Heidegger and Watsuji and as represented in Mendieta's Siluetas. The second section analyzes (...) the space of exile as a space of in‐between‐ness and borders. Lastly, the third section discusses temporality as it relates to the space of exile. Through the analysis of Mendieta's Siluetas, and in light of phenomenological accounts of space and the works of Anzaldúa and Mignolo, Ana Mendieta herself is disclosed as well as the space characteristic of those who can no longer be said to have a “home.” My exploration through my art of the relationship between myself and nature has been a clear result of my having been torn from my homeland during my adolescence. The making of my Silueta in nature keeps (makes) the transition between my homeland and my new home. It is a way of reclaiming my roots and becoming one with nature. Although the culture in which I live is part of me, my roots and cultural identity are a result of my Cuban heritage.1 As quoted in Gloria Moure, Ana Mendieta (Barcelona: Ediciones Polígrafa, S.A., 1996), 108. Ana MendietaLiving in a state of psychic unrest, in a Borderland, is what makes poets write and artists create.2 Gloria Anzaldúa, Borderlands La Frontera, The New Mestiza (San Francisco: Aunt Lute Books, 1987), 73. Gloria Anzaldúa. (shrink)

This paper argues for a feminist genealogy of anti-nuclear protest art, around the nucleus of the women’s camp at Greenham Common, 1981–87, a coherent account of whose significance is missing from both feminist film history and left protest history. Drawing on Adrienne Rich’s poetics as a thread connecting the larger anti-nuclear and non-violent/anti-military feminist movement specifically to aesthetic and political formations that informed films made at and about Greenham, the paper constellates a number of experimental works in relation to the (...) well-known observational documentary Carry Greenham Home. Their legacy, and the concept of a Greenham genealogy, is apparent in Sally Potter’s anti-nuclear Cuban Missile Crisis-set drama Ginger & Rosa, whose imbrication of poetry, politics, and experimental film techniques argues for a Greenham poetics. In particular, this paper considers a feminist poetics of attending to the nuclear, re-visioning the atomic, molecular and core as both an ecopoetics and a refusal of heteropatriarchal structures, both necessary to a viable alternative political formation. In their granular detailing of both world and work, these feminist texts offer a rich and continuous history, practice and analysis of anti-nuclear protest art that demands the same attention as they enact. (shrink)

Focusing on philosophy’s roles in problem solving, this essay proposes a philosophy curriculum for a university “universalized” according to a Cuban model. This model arises from Fidel Castro Ruz’s “dream” that the Cuban nation itself should become a university for its people. The paper’s immediate stimulus was aVenezuelan paper on rural universalized universities at the Havana conference on university education, Universidad 2008. What should be the place of philosophy in a university curriculum for rural students? In the idiom (...) of Richard Rorty, philosophy is the collection of stories we tell ourselves for guidance through life. Philosophy’s critical function is to generate new stories when old ones fail to solve the problems that gave birth to them. The essay’s three parts address three levels of generality in philosophical reflection. The most general philosophical theories, such as Marxism or pragmatism, offer wholesale guidelines for life. More specific theories direct the practices of narrow subjects, such as physics, psychology, or economics. The most specific theories focus on the nexus of theoryand practice in solving life’s most concrete problems. The essay advocates a philosophy curriculum that contrasts students’ current philosophies with alternatives from the history of thought. Students absorb philosophies from the cultures in which they are raised. When students understand the accidental nature of their guiding thoughts, they are motivated to reflect critically on historical alternatives. When students study how to solve their problems using more specific disciplines like the arts and sciences, the history of the philosophies of those subjects will help them understand their freedom to choose among alternative solutions. When students reflect on the daily problems they must solve, attention to the connections of theory and practice can amplify their range of choices. (shrink)

School reforms in the late 19th century, mirroring larger social, economic, and political changes in American society, account für the permanent lodging of science into the high school curriculum. Major changes in science courses, texts, and instruction occurred in these years. These changes then and since, however, were marked by ideological struggles among groups of reformers representing university academics, policy makers, and educators over why science knowledge and pedagogy reflected deeply embedded value conflicts in American democracy and over the purposes (...) of the high school in such a society. (shrink)

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

We humans are a curious species. Of all the life forms that inhabit the earth, we alone strive to make sense of the world in which we find ourselves. For thousands of years we understood the world through stories. Our ancestors told stories of how the world began, how our people originated and came to be at this place, and how those people across the river or beyond the mountains came to be where they are. Some stories were of animals (...) and plants in our neighborhood, and their powers to help us, feed us, or cure our ailments. But in the last few centuries, starting in Europe and spreading throughout the world, a new way of understanding began competing with storytelling as a means of comprehending our world. Science supplanted storytelling largely because it empowered us to transform the world in ways that were unimaginable to our ancestors. We understand the world scientifically by describing the world instead of by telling stories about it. The stories our ancestors told no longer explain the world, but are data within the world, part of the world that science describes. Our stories have become myths, cultural artifacts that may be interesting and a subject of study, but cannot possibly be true. Yet even in societies that have thoroughly embraced science as a means of understanding the world, myths remain a powerful force. Myth and science exist side by side, often creating confusion and conflict. (shrink)

Discusses about selective engagement as the most desirable strategy for contemporary America, stating that it is the one that seeks to forestall dangers, not simply to react to them; that is politically viable; at home and abroad; and that protects US interests.

NOT SAUSSURE: A CRITIQUE OF POST?SAUSSUREAN LITERARY THEORY by Raymond Tallis London: Macmillan, 1988. 273 pp., £33 (£10.95 paper).

Abstract…observations of skylfull pylotts is the onlye waye to bring it in rule; for it passeth the reach of naturall philosophy. – Michael Gabriel, 1576 (Collinson, 1867, p. 30)Abstract The tension between empirical data and formal theory pervades the entire history of geomagnetism, from the Middle Ages up to the present day. This paper explores its early-modern history (1500–1800), using a hybrid approach: it applies a methodological framework used in modern geophysics to interpret early-modern developments, exploring to what extent formal (...) conjectures shaped observation and vice versa. A range of pertinent case studies supports classification of this entire period as proto-scientific, characterised by the initial formation of theories being largely disconnected from observational constraints, and their subsequent evolution being advanced primarily by their empirical falsification, and not necessarily associated with the introduction of an alternative. The few exceptional instances of purely data-driven discovery were essentially due to an improved signal-to-noise ratio. (shrink)

Desde que foram criados pelos sumérios há mais de 5 mil anos, os livros sempre aterrorizaram os ocupantes do topo de quaisquer formas de poder. Neles estiveram e continuam sendo guardados os sonhos, as ideias, os projetos e as ações da humanidade em todas as vertentes possíveis, sejam eles libertadores e instigantes para as transformações positivas do mundo e do próprio ser humano, sejam eles os caminhos opostos da destruição e da opressão. [...].