Dewey’s Notion of Aesthetic Experience. A Comparative Approach

This presentation attempts to contribute the nature and scope of Dewey’s aesthetic, through a comparative methodology, which brings Deweyan notion of aesthetic experience into dialogue with the concept of harmony that Confucian philosophy suggests. Thus, I will briefly explore this dialogue in two phases: firstly, I consider the resonances between Dewey’s emergentism and what Roger Ames and David Hall names Confucian ontology of events ; secondly, I try to clarify the notion of experience and dào (道), from Deweyan and Confucian thought, by means of a comparative analysis.Universidad de Málaga. Campus de Excelencia Internacional Andalucía Tech

The Pace of Aesthetic Process: A Comparative Approach

Traditionally, western theory of art has been equipped with a set of dualisms such as subject-object, artistic process-artistic product, active artist-passive spectator, that has supposed a rejection of a plenary notion of the human integrated with nature and the cosmos. In this context, John Dewey, who presented his theory of art in 1934 in Art as Experience, showed how the “art has been set in a remote pedestal”, separated from the low activities which we realized in our ordinary lives. He refused the way aesthetics has separated the live creature from the world in which it lives, and proposes a new approach which begin from the raw, from everyday human activities. The aim of this paper is to focus interest in Dewey’s notion of rhythm, because this characteristic set the pace of the aesthetic process. This paper explores Dewey’s proposal from a comparative approach, because the rejection of art-centred discourse to the rich aesthetic dimensions of our lives is not common in all cultural traditions. I begin defining the deweyan notion of rhythm in contrast to the vital rhythm of Taoist aesthetics. Both Dewey and Taoists postulate that Human beings are affected and participate in nature’s rhythms and the reality is a continually changing balance. Secondly, I would like to consider a specific classic Chinese work of aesthetics, written by Shí Tāo (石涛) in the seventeenth century, which was developed fundamental aspects of rhythm in capturing the spirit resonance of the world and revealed its immensity through the method of the one-stroke. Through this paper’s presentation, I wish to show the importance of the rhythm in the creative process, because rhythm marks not only our interaction with the environment and with other people, but also the impulse of the aesthetic world-making process

Hyperdeterminants on semilattices

We compute hyperdeterminants of hypermatrices whose indices belongs in a meet-semilattice and whose entries depend only of the greatest lower bound of the indices. One shows that an elementary expansion of such a polynomial allows to generalize a theorem of Lindstr\"om to higher-dimensional determinants. And we gave as an application generalizations of some results due to Lehmer, Li and Haukkanen.Comment: New version of "A remark about factorizing GCD-type Hyperdeterminants". Title changed. Results, examples and remarks adde

Drift and evolutionary forces: scrutinizing the Newtonian analogy

This article analyzes the view of evolutionary theory as a theory of forces. The analogy with Newtonian mechanics has been challenged due to the alleged mismatch between drift and the other evolutionary forces. Since genetic drift has no direction several authors tried to protect its status as a force: denying its lack of directionality, extending the notion of force and looking for a force in physics which also lacks of direction. I analyse these approaches, and although this strategy finally succeeds, this discussion overlooks the crucial point on the debate between causalists and statisticalists: the causal status of evolutionary theory

Sworn translators and interpreters in the legal field, mutually exclusive?

Este trabajo pretende ser una reflexión sobre cómo dos profesiones que, a pesar de compartir una base común, en el mundo académico aparecen a menudo separadas por determidas competencias bien definidas y divergentes entre sí. No obstante, ambas pueden converger en la figura del llamado traductor e intérprete jurado. Esta realidad es absolutamente tangible en la provincia de Málaga, donde nuestro mercado local cuenta con una amplia presencia de extranjeros que no tiene demasiados problemas para comunicarse en ciertos contextos, pero sí cuando hay trámites legales o administrativos, en los que interviene el traductor jurado, que cumple las funciones simultáneas de traductor e intérprete. Por último, el trabajo finaliza con una revisión de qué respuesta damos a nivel local a esta heterogeneidad.Universidad de Málaga. Campus de Excelencia Internacional Andalucía Tech

Translation as a mediating activity: the influence of translation metaphors in research, practise and training of community interpreting

Entre las metáforas que muchos autores han utilizado para describir la traducción está la de la mediación. Una ojeada a la bibliografía publicada en las últimas décadas sobre interpretación en los servicios públicos nos permite comprobar hasta qué punto esa visión del intérprete como mediador está presente en muchas de las obras escritas al respecto. La idea de que el papel del intérprete no se reduce únicamente a la de reproductor de enunciados lingüísticos se halla latente en muchos de ellos. En este artículo, pretendemos analizar la influencia de esta metáfora de la mediación en las propuestas realizadas por los investigadores de este ámbito y comprobar cuál ha sido su repercusión en la investigación, la práctica y la docencia.G.I. HUM 767 (ayudas a Grupos de Investigación de la Junta de Andalucía) / Editorial Comares (colección interlingua

On Birds, Beasts and Human Beings. An Approach to the Continuity between Art and Life

In 1934 John Dewey laid the foundation of a Philosophy of Art which had its roots in the essential conditions of life, that is, the basic vital functions which human beings share with birds and beasts. Dewey asserted that at every moment living creatures are exposed to conflicts from its surroundings, and at every moment they try to restore the harmony, to satisfy their needs. Fifty four years after, Ben-Ami Scharfstein published his book Of Birds, Beasts and other Artists (1988) in which he tries to show the universality of the art instinct in humans, animals and birds. He returns to the biological background of art and explains how human beings and other animals are pushed to self-expression by their personal and social needs. Although he recognizes an explicit expressive behaviour of human beings, also indicates that if we want to understand our nature and the art we create, we will not deny these biological roots. The aim of this paper is to examine that continuity between art and life from a comparative approach to the views of these authors. This paper’s presentation explores two main points: the naturalistic background of aesthetics and the functionality of art such as manifestation of a culture. I begin drawing a comparison between deweyan naturalistic humanism and Scharfstein’s biological thesis. Both authors emphasize how important it is the natural context to develop aesthetic experiences, however, they present big differences in their epistemological elaborations. Secondly, I would like to address fundamental similarities between Dewey’s notion of art as a celebration of the life of a culture and Scharfstein’s view of art as exhibition of the deep forms of individual and culture, carried in his recent work Art without borders (2009). They show how all human beings share the condition that makes art both universal and indispensable. Despite the divergences, these proposals provide a global overview of art’s creation and reception which attempt to demonstrate the rich background of our lives from which we create art as a way of leading a meaningful life