On a widely held characterization, triadic joint attention is the capacity to perceptually attend to an object or event together with another subject. In the last four decades, research in developmental psychology has provided increasing evidence of the crucial role that this capacity plays in socio-cognitive development, early language acquisition, and the development of perspective-taking. Yet, there is a striking discrepancy between the general agreement that joint attention is critical in various domains, and the lack of theoretical consensus on how (...) to account for it. This paper pursues three interrelated aims: (i) it examines the contrast between reductive and non-reductive views of (triadic) joint attention, by bringing into focus the notion of recursive mindreading; (ii) it assembles, advances, and discusses a number of arguments against reductive views; (iii) finally, in dialogue with some prominent non-reductive views, it outlines the case for a non-reductive view that gives pride of place to the idea that co-attenders relate to one another as a ‘you’. (shrink)

Giving an essential and accessible overview of social theories of space, this books shows why it matters to understand these theorists spatially.

The confinement that COVID-19 has brought about has had a negative influence on people’s psychological health. However, this impact is not widespread throughout the population, and men and women may be affected differently and it is not known what protective factors may exist. In this sense, physical activity has classically been shown to be a habit associated with psychological health. The study aimed to analyze the impact of confinement on psychological health, taking into account gender, and perceived changes in physical (...) activity. After the project was approved by the University’s Ethics Commission, the participants, after signing the informed consent, completed the online questionnaires during the days from 6 to 20 April, the time when, in Spain, confinement was in place and the highest peak of deaths and infections from COVID-19 occurred. A total of 457 Spanish participants were evaluated in psychological well-being, in its adaptation to Spanish, in coping, with the Spanish adaptation of the COPE Inventory, in daily habits and difficulties and the level of physical activity they had was recorded. Besides, the perceived change in physical activity due to confinement was recorded. The results showed that perceived emotions, difficulties for certain routines, psychological well-being, and coping differed according to sex. On the other hand, depending on the change in physical activity habits, it was observed that participants who increased their physical activity responded differently in the perception of emotions, and difficulties for routines and in psychological well-being. Finally, differences were also observed in most variables between sedentary, active, and federated participants. Results are discussed highlighting the importance of physical activity as a moderating factor of the impact of confinement. (shrink)

The paper highlights the centrality of some concepts from philosophy of sport for philosophical aesthetics. Once Best conclusively answered negatively the fundamental question, ‘Can any sport-form be an artform?’, what further issues remained at the intersection of these parts of philosophy? Recent work revitalizing this interface, especially Mumford’s Watching Sport, contested Best’s fundamental distinction between purposive and aesthetic sports, and insisted that purist viewers are taking an aesthetic interest in sporting events. Here, we defend Best’s conception against considerations Mumford hoped (...) would bring the aesthetics of art and sport closer together, thereby elaborating the aesthetics of sport. But, against Mumford’s resolutely psychological conception of an aim, we follow Best to defend the centrality, for purposive sports, of the means/ends contrast even when taking an aesthetic interest in such sports. We conclude with general speculations about the potential future of the discussions originated here. (shrink)

W. J. T. Mitchell's "Spatial Form in Literature: Toward a General Theory" (Critical Inquiry 6 [Spring 1980]: 539-67) raises some fundamental questions about the concept of form itself and makes some large claims for the centrality of spatial form not only in modern criticism but in our entire culture. I wish to address a few of the questions raised by his discussion. First, Mitchell posits an identity between spatial form and "synchronic structural models" as if all explanatory models abstracted from (...) temporal alteration were necessarily spatial. (shrink)

Marjorie Perloff is a distinguished commentator on the literature of this century, best known for her work on Futurism, one of the pre-First War international and inter-art avant garde movements. Radical Artifice takes on the avant garde since 1960, observed from the angle of the institutions of popular culture -- in particular television talk shows, and graphic advertisements. The project of the book is to respond to Charles Bernstein's decree: "There is no natural look or sound to a poem. Every (...) element is intended, chosen. That is what makes a thing a poem" (qtd. 35). "Why, Perloff asks, "is the natural now regarded with such suspicion?" (35). (shrink)

A través de las preguntas sobre su trayectoria como filósofa feminista ilustrada, la relación entre la teoría y la práctica feministas, la situación del feminismo en la actualidad y sus metas y proyectos más urgentes, entre otras, Celia Amorós —máxima representante, junto a Amelia Valcárcel, de la teoría feminista filosófica de la igualdad— nos «ilustra» sobre los retos del feminismo como movimiento ilustrado, emancipador y radicalmente igualitarista. Al hilo de su narración van surgiendo temas fundamentales como la globalización, el multiculturalismo, (...) las políticas de igualdad, la alianza de civilizaciones, la necesidad de buscar «vetas de Ilustración», entre otros. Temas urgentes que nos exigen confrontarlos, pasarlos por el tamiz del feminismo, con la certeza de que «las mujeres nos lo jugamos todo» como internacionalismo porque, como se nos dice aquí, o la liberación de las mujeres se da en todas partes o no se da, pues siempre puede haber involuciones. (shrink)

From the time of British colonial settlement, innumerable taonga (treasures) have been appropriated from the indigenous Māori population of Aotearoa/New Zealand, from cloaks, weapons, carvings and musical instruments to the practices and products of tā moko ( Māori tattoo). This article focuses on the topic of cultural appropriation, homing in on a recent legal case, Whitmill v. Warner Bros., in which an artist sued Warner Bros. in a US court for pirating a ‘ Māori-inspired’ tattoo created for Mike Tyson, so (...) as to tease out the conflicts between intellectual property (IP, specifically copyright) laws and norms on one hand, and international frameworks for human and cultural rights on the other. It examines the implications of the case for tā moko as an indigenous artistic tradition, and the tension between human/artistic and cultural rights, before discussing potential remedial strategies, drawing on the findings of the Wai 262 (Waitangi Tribunal) report into claims concerning New Zealand law and policy affecting Māori culture and identity. Theoretically, it employs Manuel DeLanda’s assemblage theory as a framework for analysis, the benefit of DeLanda’s work being that it provides a novel approach circumventing the usual ontological terms of intellectual property laws and norms, which tend towards a kind of methodological individualism or micro-reductionism. (shrink)

Dennett elabora una concepción del “yo” entendido como un centro de gravedad narrativo. Uno de los obstáculos principales para valorar esta propuesta radica en que resulta dificultoso entender cuál es la naturaleza del concepto dennettiano de “yo”: concretamente, cuáles son los compromisos ontológicos y epistemológicos que cabe atribuir al fenómeno en cuestión. En este artículo defendemos que el mejor modo de realizar una reconstrucción interpretativa de su noción de “yo” es apelando a la distinción elaborada por Reichenbach entre tres clases (...) de entidades, Concreta,a e Illata, y entendiendo a los centros de gravedad narrativos como un caso de Abstracta reichenbachiano. Sostenemos que resulta pertinente e iluminador entender los centros de gravedad narrativos como Abstracta en el sentido de Reichenbach, apoyándonos en que: i) aunque no la aplica directamente al problema de la naturaleza del “yo”, Dennett sí emplea la distinción de Reichenbach en otras partes de su obra; ii) Dennett traza explícitamente una analogía del “yo” con los centros de gravedad que son, justamente, uno de sus ejemplos de Abstracta; iii) este modo de entender al “yo” permite dar sentido y entender mejor ciertos aspectos de la teoría narrativista dennettiana. Además de permitirnos clarificar las metáforas empleadas por Dennett en la elaboración de su teoría narrativa, dicha elucidación conceptual permite comprender mejor la distinción entre las tres clases de psicología intencional trazada por Dennett y es útil para sugerir a cuál de estos tres tipos pertenece el concepto de “yo”. Dennett's theory of personal identity argues that the “self” is no more than a center of narrative gravity. One of the main hurdles to assessing this proposal lies in the fact that it is difficult to understand what the nature of Dennett's concept of "self" is; specifically, what are the ontological and epistemological commitments that can be attributed to the phenomenon in question. In this article, we claim that the best way to make an interpretative reconstruction of his notion of "self" is appealing to the distinction elaborated by Reichenbach between three classes of entities, Concreta, Abstracta, and Illata, and understanding the narrative centers of gravity as a case of Reichenbachian Abstracta. We defend that understanding the narrative centers of gravity as Abstracta in the sense of Reichenbach is pertinent and illuminating given that: i) although he does not apply it directly to the problem of the nature of the "self", Dennett does use Reichenbach's distinction in other parts of his work; ii) Dennett explicitly draws an analogy of the "self" with the centers of gravity that are, precisely, one of his examples of Abstracta; iii) this way of understanding the "self" allows us to give sense and better understand certain aspects of Dennett’s narrative theory. Besides allowing us to clarify the metaphors used by Dennett in the elaboration of his narrative theory, such conceptual elucidation allows us to better understand the distinction between the three classes of intentional psychology drawn by Dennett (1987) and is useful in suggesting to which of these three types the concept of "self" belongs. (shrink)

RESUMENPara Gadamer, la medicina es un arte que, a diferencia de las otras artes (las artes de los artistas), no produce obras de arte. Pero en este saber hacer, vacío de arte, «sin obra» radica su valor hermenéutico más propio. Esto da lugar a una declaración gadameriana que, en la época del positivismo científico, parece una ofensiva injuria: «La medicina es un arte». Estos vínculos entre Estética y Medicina nos pueden parecer sorprendentes, sin embargo ya en Nietzsche existen, pero en (...) términos diferentes. Para Nietzsche, como veremos, el proceso artístico está fisiológicamente determinado. Esto quiere decir que el arte es considerado como una función orgánica, como algo subordinado a la vida que sirve funcionalmente a la misma.PALABRAS CLAVESARTE, SALUD, CURACIÓNABSTRACTFor Gadamer, medicine, in contrast to the other arts (the arts belonging to artists), does not produce works of art. But it is in this knowing how to execute, bereft of art, this non-work of art that its true hermeneutic value inheres. This gives rise to the Gadamerian affirmation that appears in our era of scientific positivism to be a downright insult: Medicine is an art. These links between Aesthetics and Medicine may strike us as surprising, and yet they are already present in Nietzsche, though in different terms. For Nietzsche, as we shall see, the artistic process is physiologically determined. This means that art is looked upon as an organic function, as something subordinate to life, functionally serving it. KEYWORDSART, HEALTH, HEALING. (shrink)

This work traces the evolution of Jewish representation(s) of Europe since the Emancipation, focusing on the cultural image of Europe among the Eastern-European Jewish intelligentsia, in relation with the process of building a modern, national Jewish identity. The author mentions the idea of “abandoning” Europe which occured in the Zionist ideology and in the post-Holocaust Israeli public discourse due to the impact of modern political antisemitism, and to the influence of the European national ideologies. This study discusses the new tendencies (...) of the Israeli society and culture to “rediscover” Europe and to re-build the cultural and spiritual bridges between Israel and the postcommunist Eastern Europe. Outlined in their recent books, the perspectives of two outstanding Israeli writers, such as Amos Oz and Aharon Appelfeld, are used, here, to exemplify this new approach. (shrink)

The apparatus theory is used to challenge the interpretation of religion and also to determine whether religion is a factor to contend with in modern society. Religion could be the element that keeps the city intact or could be the one element that is busy ruining our understanding of reality and the way this interacts with society in the urban environment. Paradigms determine our relationships. In this case, the apparatus theory would be a more precise way of describing not only (...) our relationship towards the city but also the way in which we try to perceive our relationship with religion and the urban conditions we live in. This article gives theoretical background to the interpretation and understanding of the relationship between various entities within the city. The apparatus of the city creates space for religion to function as a binding form. Religion could bind different cultures, diverse backgrounds and create space for growth. (shrink)