En este artículo se estudia la novela _El entenado _(1983), de Juan José Saer, una obra singular que se incluye dentro del género de la nueva novela histórica pero que se aleja de sus convenciones. _El entenado _no reflexiona sobre un hecho central de la historia de Argentina ni acude a testimonios colectivos, sino que desplaza su mirada al testimonio individual y a la narración de un acontecimiento histórico casi olvidado, marginal: la fallida expedición de Juan Díaz de Solís (1515) (...) y el testimonio del único superviviente de la antropofagia ritual de los indios colastiné, el grumete Francisco del Puerto. Las herramientas teóricas de este artículo corresponden a los postulados de la novela histórica de Georg Lukács y a las premisas de María Cristina Pons sobre la nueva novela histórica de mediados del siglo XX en Latinoamérica; todo esto en diálogo con la poética del autor vertida en ensayos y entrevistas. El centro de este estudio, sin embargo, no es una reflexión genérica, sino el análisis detallado de los diversos desplazamientos que propone Saer: el genérico, el espacial y el temporal. Se subraya, principalmente, el movimiento que va de la fragmentación, de los cuerpos, o del discurso parcial de la historia, a la construcción de un sentido simbólico. Las conclusiones reflexionan sobre cómo integrar los elementos excluidos (históricos, sociales e individuales) en los grandes discursos y cómo dotarlos de sentido. Así, esta novela propone abandonar la infructuosa búsqueda de una verdad histórica y sustituirla por una verdad simbólica, más crítica e incluyente. (shrink)

Ce texte a déjà paru dans Recherches en didactique des sciences et des technologies, N° 4, 2012. Nous remercions Maryline Coquidé, Michèle Dell'Angelo, Stanislas Dorey, Corinne Fortin, Magali Gallezot, Sandrine Henocq, Faouzia Kalali, Jean-Marc Lange, Guy Rumelhard et la RDST de nous avoir autorisé à le reproduire ici. Résumé : Les travaux de la biologie intégrative remettent en cause le déterminisme strict de l'organisation spatiale et temporelle du vivant. Ce texte, travail collectif de notre (...) - Biologie – Nouvel article.

Alain Lévêque, né en 1942 à Paris, est l'auteur notamment de Bonnard, la main légère (Deyrolle Editeur/L'Arbre voyageur, 1994 ; Verdier, 2006), et le préfacier des Observations sur la peinture de Pierre Bonnard, parues aux éditions L'Atelier contemporain en 2015. Il faut miser pour voir. Savoir jouer, ruser, cacher, mais aussi dévoiler son jeu, s'attendre à perdre, à gagner, réfléchir, avoir des coups de tête, de la chance, se recueillir, tout dépenser. Ne pas retenir quelques mots bien au chaud pour (...) l'hiver, dans son bas de laine pour les temps de disette. Tout dépenser. Il faut à chaque fois écrire toutes voiles dehors, au risque de se trouver fort dépourvu quand la bise n'est pas venue. Je ne connais rien de plus difficile que ces commandes d'un " petit texte " pour une exposition de peinture, le travail d'un sculpteur. Car jamais de moi-même je n'irais me fourrer dans pareil pétrin (encore qu'il est tentant de mettre ses mains dans la pâte qui finira par s'échauffer et lever, mais c'est une autre histoire). Il s'agit qu'on m'invite à jouer, et si le jeu est engageant, je ne peux m'empêcher de dire chiche et de jouer à perdre haleine, me fiant à l'excitation, à l'emportement, et croisant les doigts pour qu'à la fin je puisse enlever le bandeau que j'ai sur les yeux et reconnaître ce que j'ai cru toucher. Ecrire pour voir. Est-ce écrire en regard du tableau? On peut bien écrire quelques mots dans un carnet devant le tableau, il ne s'agit jamais d'un tête-à-tête. Le tableau a une et même plusieurs longueurs d'avance. Qu'il soit peint comme de toute éternité et ne demande rien à personne crève les yeux. Le tableau est immobile, cela crève aussi les yeux, on ne peut pourtant pas le fixer. Ecrire dans son carnet oblige à baisser les yeux. Lorsqu'on les relève, le tableau a détalé. On envoie des mots en éclaireur. L'ensemble des textes écrits par Maryline Desbiolles (parus pour la plupart dans des catalogues ou revues, ou inédits) sur l'art, autour de l'art, à partir de l'art est ici réuni : une première partie rassemble les approches les plus réflexives sur la création ; dans le second chapitre les textes s'articulent autour de deux thématiques chères à l'auteur : l'Italie, la cuisine ; le troisième chapitre réunit les essais et poèmes consacrés aux sculptures de Bernard Pagès ; sont ensuite regroupés les essais consacrés à des artistes ou des oeuvres ; le volume se clôt enfin sur des oeuvres de fiction dont l'élément déclencheur de l'écriture fut la fréquentation d'oeuvres plastiques. L'ensemble des textes a été revu en prévision de cet ouvrage, tout autant essai sur l'art qu'oeuvre littéraire. (shrink)

La búsqueda de una educación ambiental basada en los principios de la sustentabilidad, está en el centro de la reflexión de la autora. El arte de educar implica, por parte de educadores y educandos, consiste en asumirse como seres sociales y complejos; inmersos en una realidad que exige un compromiso constante con el medioambiente. La libertad que podemos alcanzar en el mundo exterior -el cual habitamos en tanto cuerpos interrelacionados entre sí y respecto de su medio- tiene como requisito previo (...) el desarrollo de nuestra libertad interna. La propuesta implica una educación ambiental como proceso crítico de comunicación y reelaboración constante del conocimiento, donde se construyen realidades sobre la base de la paz y de un futuro compartido. (shrink)

Some believe that it is immoral to harm animals, but it is not immoral to kill humanely raised domesticated animals. Implicit in this is the assumption that it is possible to raise and slaughter animals without harming them significantly. In recent years, a number of philosophers – DeGrazia, Harman, Bradley, and others – have claimed that slaughter harms an animal in proportion to the amount of valuable future life that an animal loses in dying, which seems to challenge this assumption. (...) But a question remains: how much are domesticated animals, particularly humanely raised ones, harmed by their slaughter? Here, I take up this question. My answer may be surprising: in ordinary circumstances, slaughter hardly deprives humanely raised animals of any good life, and so is not very harmful to them. This result may strengthen the case for humane slaughter – or it may give us reason to revise our understanding of the harmfulness of death. (shrink)

Two continents. Three countries. Mountains, archipelago, a little red dot & more to come. BERIT SOLI-HOLT (Editor): When I think of introductory material, I think of that Derrida documentary when he is asked about what he would like to know about other philosophers. He simply states: their love life. APRIL VANNINI (Editor): And as far as introductions go, I think Derrida brought forth a fruitful discussion on philosophy and thinking with this statement. First, he allows philosophy to open up the (...) personal and second, the ability to conjure the notion of thinking in relation. After all, love lives are spawned from relations, and such are philosophical encounters—the co-emergence of thought and affect. This brings us to discuss the concept of the special issue of continent. called drift . From the Statement of Intent : The discussion that has become drift , a special issue of continent. began in the glow of a bonfire beside a lake near the Thousand Islands of Ontario when co-founders April and Berit came across a conception of a journal that would decline to follow traditional models of invitation and editorship, instead following a generated discourse through relational means. Shedding preemptive articulation of expected outcome and cohesion, we hope to light a fuse of chain interactions with each contributor active in authorial, editorial, and curatorial roles. drift seeks to allow the framing mechanism to choose itself, to find where something can flow or emerge in relation to a series of participants. By setting out a thread of thought to work its own way through writers and artists of various locations, drift operates through links, breaks, pauses, new directions, unintended consequences, twists, holes, bridges. We are attempting to give the scene for an emergence and what can become conceivable when given the opportunity to create chains of thought—linking, welding, fusing, looping, stitching. We hope to explore what is attainable when scholarly/artistic relationships transverse on their own terms instead of articulated by an institutional environment. JEREMY FERNANDO (Guest Editor): I think he was actually more interested in their sex lives. Though at the same time completely refusing to discuss, disclose, his own: I found it rather touching that he blushes whenever speaking of his life with Marguerite. So perhaps in this sense it is very apt to speak of it in terms of love; and the secret that is in each love: that even though it is a relationality between, there are parts of it that remain hidden, not just from everyone else, but even those in that relation itself. What the editors intend to ^do^ to impart this conceptualization is to provide a framework through the choice of a theme and by minimal standardization of form and content guidelines. As initial instigator, each editor will send their contribution to the issue to a fellow colleague, thinker, artist, friend with the invitation to send (via post) the accruing materials to another possible contributor. In this, we hope to engage with many individuals on ideas surrounding a specific theme determined but not limited by the editors of the drift . The end result will take the form of whatever is at hand (as materials can only stay with each contributor for two weeks) and whomever is at hand (the availability of interested and capable parties) through a course of five months. We are curious. What are the ways in which thought can emerge between individuals and places? What occurs when our fundamental mode of inquiry is between each other? How are ethical, social, spacious, political, aesthetic practices created between a chain of contributors. BSH: To introduce what to look forward to in June with the publication of drift isn't quite possible yet. It is in the stages of preparation, barely started, but already begun. I have been thinking about drift as an insect that goes through life cycles, chrysalises, pupas, larva. Each moment of the production and publication of this issue of continent. is its own life. A bug under a pin is not as interesting as one in flight or crawling up your leg. JF: Though the one crawling up your leg is also more likely to bite you. There is always already a danger in letting be, thinking …. Then again, there is also a potential rupture in attempting to seize, pin down, capture. BSH: I think a word we haven't thought about enough yet is capture. I think we are perhaps trying to capture something, or to allow for the moments of this capture along the way, the resulting material being the ripples left in the sand when the water waves away. AV: This question comes to mind when speaking about captures, waves, ripples: How can we activate a ripple? What I find interesting about a wave is the difference in frequencies, movements, forms, style that are activated in between intervals. What is interesting about a wave is that it is activated in relation to what came before. What remains in the sand is a ripple that forms in relation between multiple intervals of stylistic waves. As Deleuze and Parnet have taught us, "We were only two, but what was important for us was less our working together than this strange fact of working between the two of us. We stopped being 'author'. And these 'between-the-twos' referred back to other people, who were different on one side from the other. The desert expanded, but in so doing became more populous." 1 Drift is activation for thinking-with and possibly much more—who knows? There is the intent to subvert the relational qualities between people in journal publishing, but also important to the editors is the subversion of materials. The editors do not shy away from use of contemporary technology and, in fact, have relied and will continue to rely on the wonders of internet connectivity to midwife the drift. The connective infrastructure chosen to relay the developing issue is simply one of bodies, of postal workers and the varying postal systems. Some may find it to be merely be a call of an already dying form, but the editors believe that the conversation exchanged from hand to hand is of explicit difference in quality of engagement due to the complexity of peripheral information transported by physical matter. Different hospitalities and responsibilities are at play in keeping hold of one-of-a-kind materials for a time and entrusting various postal systems to bear the message forward. To have work physically transported through space and time through this kind of infrastructure that is reliant on individuals to literally carry a message is crucial in incorporating traces of bodily presence. AV: Thought is contingent and emergent process that folds, twists, pulls, shifts in multiple directions and we are interested in these multiple directions. JF: And even as thought is contingent on, hinged around, its place, time, venue—on its continents, as it were (we still tend to speak of gestures of thinking as Continental, British, American, European, Asian, etc.)—we might also attempt to respond to the landscape within each thought: its folds, unfoldings, rolls, manoeuvres, geography. BSH: How different is this than Morelli's screw that Julio Cortazar or Horacio Oliveira recounts in Hopscotch? The fable recalls a man who regarded a screw everyday on his stoop. When he perishes, the screw disappears, perhaps into a fellow neighbor's pocket for secret contemplation. Whoever is writing the passage remarks that "Morelli thought that the screw must have been something else, a god or something like that. Too easy a solution. Perhaps the error was in accepting the fact that the object was a screw simply because it was shaped like a screw." JF: Perhaps even more intriguing is the notion that we do not quite know who is inscribing these remarks on Morelli. That even as someone says that it is a screw, perhaps because it is shaped like a screw, the one who names it “screw”—the one whom we are in a relation with in relation to the screw—remains veiled from us. But even as this is so, the notion of the object as “screw” is marked, etched, onto us. BSH: A periodical, marking a period of time, but where? An issue, a magazine, a storehouse of information. To show the remainders of thinkers connecting and surfing. With all this stated, we, as editors of the drift are aware of the active fault, quaking potential, and ethical catastrophe of such a proposed project — the inheritance or the gifting of a project without consent. We are certain that there may be possible oversight on the process of such a project. If such is the case, we hope that oversight and misdirection will not leave this project dormant but rather open up promising new directions, questions, and potential considerations. We are very excited about the accidental propositions that can occur in between. In sum, we'll see what happens. JF: Perhaps, all we can know of the screw is that we are screwed ... NOTE Gilles Deleuze & Claire Parnet. Dialogues II . Revised edition. (New York: Columbia University Press). 2007: 17. (shrink)

Recently mereological hylomorphism, the theory in which form and matter are considered to be proper parts of objects, has become very important among contemporary metaphysicians. The present work aims to analyse and dismantle Bennett’s criticism regarding the existence of formal proper parts. To do this, I will start by presenting Koslicki’s mereological hylomorphism. Next, I will focus on Bennett’s critique which seeks to deny the existence of formal proper parts. Finally, I will analyse critically the Bennett’s criticism focusing on the (...) scenario of lump of clay and statue. I will show Bennett’s proposal is not explanatorily better than Koslicki’s hylomorphism because she needs to accept a counter-intuitive thesis. Therefore, we should prefer Koslicki’s mereological hylomorphism. (shrink)

In the Laws, Plato argues that legislation must not only compel, but also persuade. This is accomplished by prefacing laws with preludes. While this procedure is central to the legislative project of the dialogue, there is little interpretative agreement about the strategy of the preludes. This paper defends an interpretation according to which the strategy is to engage with citizens in a way that anticipates their progress toward a more mature evaluative outlook, and helps them grow into it. This paper (...) shall refer to this strategy as proleptic engagement. While the virtuous ways of life required by law are intimately connected to happiness, the preludes do not persuade by spelling out this connection. Rather, they persuade by telling citizens what they need to hear so that they can come to appreciate this connection for themselves, in the context of their own lives. While the preludes are many and varied, this paper argues that all preambular material can be understood as proleptic engagement. (shrink)

Home care is one of the fastest‐growing industries in the United States, providing valuable opportunities for millions of older adults and people with disabilities to live at home rather than in institutional settings. Home care workers assist clients with essential activities of daily living, but their wages and working conditions generally fail to reflect the importance of their work. Drawing on the work of Eva Feder Kittay and other care ethicists, we argue that good care involves attending to the needs (...) of another out of a concern for their well‐being. Such care should be standard in the home care system. Yet, because of the pervasive racial, gender, and economic inequalities that the home care industry perpetuates, home care workers and their clients cannot reasonably be expected to care about each other. We endorse reforms aimed at enabling home care workers and their clients to form and maintain professional relationships that cultivate care.. (shrink)

I argue that central to Aristotle’s account of vice is a distinction between two varieties of vicious person: those for whom character change is possible (the curable), and those for whom it is not (the incurable). Recognizing this distinction and drawing out the ideas which ground it shows why Aristotle’s discussions of vice in EN vii and ix 4 are not inconsistent.

Com podem fer per individuar accions? Com determinem quines accions són diferents d'unes altres? El present treball discutirà dues teories sobre la individuació d'accions: la de Davidson i la de Goldman. Atenent a un clàssic escenari filosòfic sobre la individuació d'accions veurem les virtuds i defectes d'aquestes dues propostes.

El presente texto busca reflexionar en torno al mundo de las prácticas del cuerpo y su vínculo con cierto tipo de culturas juveniles que poseen como forma de vida la alteración corporal, y donde en la actualidad se puede observar –en nuestro país– una explosión de la experimentación con el tatuaje y con el piercing, y de manera más incipiente –pero también significativa– con los implantes, las escarificaciones, los branding, las expansiones y la variante de las suspensiones humanas; práctica sobre (...) la cual el artículo profundiza intentando dar cuenta del contexto social y cultural donde surge la suspensión humana; los procesos de apropiación que experimenta esta práctica a partir de la irrupción de culturas juveniles en las sociedades contemporáneas; los significados y procedimientos asociados a este ritual; y los nexos entre política, estética y modificación corporal. (shrink)

L’histoire du Kronprinzenpalais, dans sa lente émergence vers la reconnaissance de son existence, ainsi que du rôle majeur qu’il joua sur la scène muséale allemande, en tant que premier musée d’art moderne, demeure étroitement lié au sort de son unique conservateur, Ludwig Justi. Cet article s’attache à restituer les innovations didactiques et muséographiques menées par Justi, les très nombreuses expositions temporaires aussi bien que l’enrichissement des collections, de même que la fondation de la revue Museum der Gegenwart, lesquels eurent un (...) rayonnement sur l’ensemble des musées d’art allemands. (shrink)

La prise de rendez-vous dans un service de consultation conjugale est un aspect spécifique du travail de la secrétaire-réceptionniste. Les différentes tâches qui s’y associent sont le tri des appels et l’évaluation des demandes, l’écoute, l’information et l’orientation. Le rôle de la secrétaire est d’assurer le premier contact, de recueillir les éléments de la demande et de présenter le cadre de travail du conseiller conjugal. Les rendez-vous sont pris selon des règles et des consignes définies dans un cadre institutionnel.

This piece, included in the drift special issue of continent., was created as one step in a thread of inquiry. While each of the contributions to drift stand on their own, the project was an attempt to follow a line of theoretical inquiry as it passed through time and the postal service from October 2012 until May 2013. This issue hosts two threads: between space & place and between intention & attention. The editors recommend that to experience the drifiting thought (...) that attention be paid to the contributions as they entered into conversation one after another. This particular piece is from the BETWEEN SPACE & PLACE thread: April Vannini, Those Between the Common * Laura Dean & Jesse McClelland, Ballard: A Portrait of Placemaking * Amara Hark Weber, Crossroad * Isaac Linder & Berit Soli-Holt, The Call of the Wild: Terror Modulations * Ashley D. Hairston, Momma taught us to keep a clean house * Sean Smith, The Garage * * * * Instead of beginning with radical doubt, we start from naiveté. —Graham Harman, The Quadruple Object Deep in the forest a call was sounding, and as often as he heard this call, mysteriously thrilling and luring, he felt compelled to turn his back upon the fire and the beaten earth around it, and to plunge into the forest, and on and on, he knew not where or why; nor did he wonder where or why, the call sounding imperiously, deep in the forest. —Jack London, The Call of the Wild The figure of the feral remains a perpetual enigma, but the parameters remain relatively consistent. A person, usually a child, enters civilization after having been raised by wolves or kept in some kind of cruel captivity. The outsider perspective on domestication ensuing in an edge of a culture's self-recognition of its clumsier attributes, what has been taken for granted becomes apparent, is brought to the foreground with the stranger and made questionable. Amusement follows naïve questions or observations such as Kaspar Hauser in the Herzog film, The Enigma of Kaspar Hauser, when Kaspar notes that while in his room he is engulfed by it, but when he looks at the tower he can turn away and it disappears. Ergo, the room is larger than the tower. How entertaining. The aberrant one destabilizes the comforting cultural normative. Places become seen as mere impressions out of space, a patterning, a rut that not everyone lives in like us. This is one figure of the feral. The naiveté that begs all the questions. As a figure for a certain philosophical disposition, the rapidity of one’s saccade scans the environment, intuits it’s space, not from an initial thaumazein or a Critchlean sense of disappointment, but from a child-like naiveté bent on survival. To serve the naïve is merely one form of critique, and it is not nearly used enough in lieu of the critique that provides answers. How dull. It is not necessary to be an outsider to entrench a critique with naiveté. After having forced to suffer in the most parched and rocky terror, itself for so long rooted upwards of fifty feet into the ground upon which it grows, even a grapevine can spontaneously produce a white grape on a red vine. The curious feral can arise from within, and like pinot grigio, it adds variety without admonishing its roots. There is also the feral dog. Not raised by wolves, but humans. Founded in place the figure of this feral denies this place. The trajectory of this feral roves from the cultivated to uncultivated, or in speaking of plants from controlled to volunteer, finding the necessary nutrients and survival patterns on its own. Finding other places, reaching out into space testing its fertility. And when introduced into a foreign environment, it withers or flourishes. We would like to attempt a thesis at this juncture and to accept neither feral figure in its entirety, but to argue for the intimate conjunction between a cultivated place and its resonance with the space it procures for its nest and kin. I'm not a biter, I'm a writer for myself and others. —Jay-Z, What More Can I Say? I am writing for myself and strangers. This is the only way that I can do it. Everybody is a real one to me, everybody is like some one else too to me. No one of them that I know can want to know it and so I write for myself and strangers. —Gertrude Stein, The Making of Americans There is no subjective disposition outlining an unambiguous individual of the para-academy. There is no para-academic. We all have day jobs. 'Para-academic' seeped through the cracks as an adjective in the call to frame publishing dedicated to the critical rigor expected by academic publishing, but to deny the limitations of guarded legitimation through capital means. Open-access holds hands with this parasitic descriptor. Para-academic publishing's refusal to adhere to the valuation of locked access of a site, the site “of a desperate initiation to the empty form of value,” 1 seeks to recognize not merely an inclusive interpretation of significance, but the significance of thinking practice. The practice inside the paywalls of academic 'education' is held in a deathgrip by its infatuation with value and information, both empty without the apprehension of human experience, the barbaric yawp. “I can't breathe in here.” It is not that a para-academic practice leads one to the childish wonder of Kaspar Hauser who wonders about the spatiality of his room. It is the academic legitimation that distorts that one can hold the understanding of both in a constellation of place and space. Led to believe there is only a place for things, we are led to disillusionment. It is also not that a para-academic practice relinquishes itself to the invasive growth outside of careful cultivation, an abandonment of pleasantries for the toothy growl of a predator. It is the academy's fear that thought does not require capital to signify value. Some of the most nutritious meals can be foraged. Defining a para-academic practice is not outlining a place of accreditation of the practice, it is the recognition that any place is subject to modulation by the space it inhabits as well as creates. The para-academic practice keeps an eye of the creation of spaces, follows those paths that eat themselves in the name of academia. This is not unlike Red Peter's report to the academy, only successful if we report in idle idiosyncratic banalities that we have once again become victorious in our acculturation and nullification within the confines of accredited mush and our trajectory of wild rigor is defeated in our desire for recognition as recognizable in this place. Weeds are integral to the functioning of a large ecosystem. The manicured garden is entirely reliant on its keeper. The pansy can also go wild once neglected, the daisy definitely does.... a universe comes into being when a space is severed or taken apart. The skin of a living organism cuts off an outside from an inside. So does the circumference of a circle in a plane. By tracing the way we represent such a severance, we can begin to reconstruct, with an accuracy and coverage that appear almost uncanny, the basic forms underlying linguistic, mathematical, physical, and biological science, and can begin to see how the familiar laws of our own experience follow from the original act of severance. The act is itself already remembered, even if unconsciously, as our first attempt to distinguish different things in a world where, in the first place, the boundaries can be drawn anywhere we please. At this stage the universe cannot be distinguished from how we act upon it, and the world may seem like shifting sand beneath our feet. —George Spencer-Brown, Laws of Form Two edges are created: an obedient, conformist, plagiarizing edge, and another edge, mobile, blank, which is never anything but the site of its effect: the place where the death of language is glimpsed. These two edges, the compromise they bring about, are necessary. —Roland Barthes, The Pleasure of the Text Between these two epigraphs, interminable questions of where and questions of happening, gesture, and interface. To stay buoyed between a site of visible happening and haptic perspicacity. Bounded by one or the other leads to a desiccation of potential knowledge. The tumbleweed tumbles until met with mud, a bare structure moving but not movement. A tumbleweed tumbleweeds, propagates only at a place. It becomes significant again, continues. Significance, the site where meaning is made known through kinesthetic apprehension. 2 The feral founds a gestural horizon; an outsider’s scrawl-becoming-law; Deleuze teaching Meno’s dog geometry. Place as marked, outlined, recognized, territorialized. The academies marked by their peculiar disciplines, outlined by their rigid boundaries, recognized as factories of value. This far from ensures complete purchase on the space of thought, but it has made an undeniably elaborate means of making work significant. The academy is a muddy spot, it is fertile, but its gates are high and its dogs are barking. The coordinates of concept and experience. Already claimed by a stabilizing suspension, the terms enter specificity of ‘this is this’. Another correlation: activity and the individual. The individual, a placeholder in the crosshairs of juridical identification. Activity, what expands and surrounds this location, but utterly indebted to the node of “one who”. What's happening in this oscillation of nature and nurture is practice. Practice, as Stengers tells us “is not the activity of an individual or the product of that activity. It is the ingredient without which neither that activity nor this product would exist as such.” 3 Moving outward from our own honing, we're curious about the ingredient creating the place for holding conceptual and experiential engagements in each hand. And we'd like to argue that this place is not a limiting specification, but a practice undulating daily, by the minute. And we call this practice the para-academic practice. I repeat: there was no attraction for me in imitating human beings; I imitated them because I needed a way out, and for no other reason. —Franz Kafka, A Report to an Academy In order to exist, man must rebel, but rebellion must respect the limit it discovers in itself—a limit where minds meet and, in meeting, begin to exist. — Albert Camus, The Rebel Anyone is a para-academic or practicer of such means. The academic can, and we argue should, be active para-academically, to escape the bounds, recognizing no site specific place as a place to rest on or the place to grab the Kafka's top and wonder at its disobedience not to continue. Yet, the para-academic practice must maintain the desire for rigor in scholarship. Indeed desiring past itself to claim a more naïve rigor, one that does not take its form for granted. Without a para-academic practice, the scholar spends half the time merely working on behalf of a hierarchy, to maintain it, and the other measly amounts of time are in the name of thinking, but only in name. Not to mention the amount of debt it takes to attend the halls of higher education. Not to mention the snoring tenures. Not to mention the barely scraping by adjuncts. Not to mention the materials that shake the very force of producible theory. Not to mention when swimming in texts becomes slogging through data. Academia is a barbaric food chain and it is our claim that there is, as always, an imperative for thought to move, with Heidegger, beyond the logics of calculation and planning, to a time of its own. The path, into the panic of the dark wood of this space can be followed by any; any who let the silence and the rigor enter the play. Where the little theater is larger when inhabited ; where the data of the tutor asymptotically refutes; and where, as much as one wouldn’t expect it here, ballet may turn out to be the most feral of forms… NOTES Jean Baudrillard, “Value's Last Tango” Simulacra and Simulation trans. Sheila Faria Glaser,. “What is significance? It is meaning, insofar as it is sensually produced.” Roland Barthes in The Pleasure of the Text. Isabelle Stengers, “The Science Wars” Cosmopolitics I trans. Robert Bononno, 47. (shrink)

Strictly speaking, it is not possible to make psychology of Saint Teresa of Jesus, to study her experience or psychic reality, since we do not have direct access to her as an historical subject. Psychology can, however, legitimately approach her texts and study them through their language, since written texts are intentionally communicative. Cognitive psychology has tools which are suited to this type of analysis. I will examine texts written by Saint Teresa of Jesus as human conduct and as especially (...) suited to psychology as an explicative-causal and comprehensive-intentional science, though I do prefer to look at them as a mix of the two, explicative-comprehensive — a combination of both levels of reality. (shrink)

In this essay, Solis contemplates how queercrip—both homosexual and disabled—readings of four editions of “Snow White and the Seven Dwarfs” might be used to destabilize “normative” sexual identities. His goal is to argue against secrecy and for disclosure; thus, a main question guides the analysis: How might we use picture books to reevaluate human sexuality in all its varied manifestations to avoid condemning to the closet all those who do not approximate a prescribed “norm”?

Para Galileo la Naturaleza tenía estructura geométrica. El atomismo veía los sistemas físicos como estructuras matemáticas; pero el atomismo es discontinuo y las magnitudes, continuas. Para unificar física y matemáticas, compuso la materia de átomos inextensos y las magnitudes continuas de infinitos elementos indivisibles, lo que planteó problemas físicos y matemáticos irresolubles pero estimulantes.

Actualment en Filosofia, tenim dues caracteritzacions canóniques sobre la naturalesa de la Metafísica, la carnapiana i la quineana, tot i que són dues tesis diferenciades, ambdues coincideixen en que la Metafísica és reduïda a qüestions d'existència. No obstant, Kathrin Koslicki considera que aquestes caracteritzacions de la naturalesa de la Metafísica són errònies i que comporten una crítica explícita a la Metafísica o redueixen la resolució dels problemes metafísics a un pragmatisme. Per això, Koslicki considerant que els desacords metafísics són legítims (...) i profunds, tenint com a marc de referència la filosofia aristotèlica, considera que la tesi quineana i carnapiana no reflecteixen bé la naturalesa de la Metafísica, ja que, hi ha disputes metafísiques que es deuen a disputes no-existencials sobre temes de fonamentabilitat. Koslicki considera que la Metafísica no pot ésser reduïda a qüestions d'existència, sinó que ha de ser pensada com la reflexió de quines entitats són fonamentals, i quines són derivades d'aquestes. L'article està dividit en una primera part introductòria sobre els meus objectius, seguit d'una breu exposició de les tesis carnapiana i quineana de la metafísica, i per últim l'exposició de la proposta neo-aristotèlica de Koslicki. (shrink)

El artículo examina una serie de tensiones y conflictos propios del así llamado cosmopolitismo institucional y su correlato: la idea de la justicia global. Se persiguen dos tipos de reflexión, a saber, una reflexión propositiva respecto del sentido de la idea de justicia global y su vínculo con la justicia doméstica (nacional), y, por otro lado, una reflexión defensiva y dirigida a los escépticos respecto de la posibilidad de una teoría de la justicia conglomerante, según lo denomina Amartya Sen. Se (...) dibujarán las líneas argumentativas básicas en defensa del cosmopolitismo institucional, desde las cuales se hace posible capturar, sin contradicción, las demandas de la así llamada justicia social doméstica, esto es, la justicia en el contexto estricto de los Estado-nación particulares. (shrink)

A year ago the documents included in this piece were sent out from three locations to three threads of thinkers. Including a small description of the drift process, the Welcome Letter, Protocol & Guidelines, as well as the Statement of Intent are reproduced here in their entirety. This statement was previously published by continent. in-between a conversation of the drift guest editors in issue 2.3.

En aquest article pretenc fer una crítica al nihilisme mereològic, al·ludint que les expressions «simples agrupats en-tant-que-F» tenen unes conseqüències desastroses per als seus compromisos ontològics. Primer, explicaré què és el nihilisme mereològic -que és part de l’eliminativisme- el qual pretén negar l’existència dels objectes compostos (objectes amb parts pròpies) i l’estratègia de la paràfrasi: l’ús que fan de les expressions «simples agrupats en-tant-que-F» per referir-se als objectes ordinaris sense comprometre’s amb l’existència d’objectes compostos, però posaré l’èmfasi en aquells nihilistes (...) mereològics que pretenen explicar l’existència de les propietats emergents. Seguidament, presentaré una classe de crítiques, les de Bennett i Tallant, sobre l’ús d’aquesta estratègia per part dels nihilistes, i quina és la resposta crítica que ofereix Brenner sobre aquesta classe de crítica. Finalment, presentaré la meva crítica on mostraré que el nihilisme mereològic utilitzant l’estratègia de la paràfrasi s’està comprometent amb l’existència d’objectes compostos i que la crítica de Brenner no funciona amb la meva postura. -/- In this paper I intend to critique mereological nihilism, alluding that the expression «simples arranged F-wise» has disastrous consequences for its ontological commitments. First, I will explain what mereological nihilism is -which is part of Eliminativism- which tries to deny the existence of composite objects (objects with proper parts) and the Paraphrase Strategy: the use they make of the expression «simples arranged F-wise» to refer to ordinary objects without committing to the existence of composite objects, and I put the focus on the mereological nihilist that pretends to explain the existence of emergent properties. Second, I will present a kind of criticism, by Bennett and Tallant, of the use of this strategy by nihilism and which is the response of Brenner about this kind of criticism. Finally, I will present my criticism where I will show that nihilism by using the Paraphrase Strategy is committing itself to the existence of composite objects and that the Brenner’s critique does not work with my position. (shrink)

Las trayectorias del arte caribeño, luego de la Segunda Guerra Mundial, experimentan profundas transformaciones en sus prácticas creativas y modos de comprensión cultural. Las complejas realidades sociales y políticas en las islas del Caribe hispano condujeron a un punto de giro en los procesos regionales, una transformación del campo del arte y replanteamientos de los discursos periféricos desde las manifestaciones, los temas de interés y el rol del artista en la sociedad. La fotografía, y especialmente aquella procedente de espacios periféricos (...) en las lógicas internacionales del arte, aportaron los iconos más contestatarios del momento. Los símbolos culturales de una nueva voz, que responde a un pensamiento emancipatorio y descolonizador, se expresan en la construcción de un discurso visual de paradigmas éticos y libertarios. Los lenguajes más renovadores de la época apelan a una base fotográfica de trasfondo por la relación entre la inmediatez y la pregnancia de la imagen, o la inherente reproductibilidad que propicia una función comunicativa más efectiva. (shrink)

El artículo aborda, a partir del primer romanticismo alemán (Frühromantik), la concepción de un fundamento teórico relativo a la toma de conciencia de una verdad conflictiva que se manifiesta históricamente. Este fundamento contrasta con el concepto de teoría de la ciencia moderna, y trata de recuperar algunos rasgos de la noción antigua (más allá de la dicotomía sujeto-objeto). Esto implica el reconocimiento de cierta performatividad de la teoría y con ello de la poética, que muestra la ineficacia de las concepciones (...) empleadas en la Modernidad, y particularmente muestra las carencias del concepto de teoría literaria. Posteriormente analizamos el problema mediante la concepción de las poéticas especulativas del romanticismo, para lo cual se estudia la tensión entre el discurso fragmentario y la singular idea de sistema en el pensamiento romántico. (shrink)