The Rhythm of our Lives. Aesthetic Perspectives East & West

The leading approach to everyday aesthetics for the past few decades has departed from analytic philosophical grounds, generating some tensions or dichotomies regarding its foundational cornerstones: the ordinary vs. extraordinary character of everyday aesthetic experience, contextual familiarity vs. strangeness, object vs. processual orientation, etc. Although John Dewey has been widely acclaimed as a sort of foundational figure for this burgueoning sub-discipline of aesthetics, maybe not enough emphasis has been laid on his very different pragmatist approach. In this regard, his reliance on Hegelian cum Darwinian premises might allow for a connection with other branches of continental as well as Asian philosophies, from which also some research on everyday aesthetics has been made. It is from this wider ontological framework that the notion of rhythm could be vindicated as a pivotal aspect of the aesthetic dimension of our everyday lives. Dewey deals extensively with it in Art as Experience, conceiving it as a sort of pattern of accomplished experiences, accounting also for his naturalistic approach and art and life continuity thesis. On the other hand, neo-pragmatist exponent Richard Shusterman, among others, has posited links of connection between Pragmatist aesthetics and East-Asian philosophies. Particularly, Dewey’s resonances with Asian philosophies have been studied, with a preeminence on the notions of harmony and rhythm. This paper will depart from the analysis of the notion of rhythm in Dewey’s philosophy, trying to hint at some possible developments of its implications. Particularly, it will expand on some East Asian paralelisms to his philosophy, trying to link them with the notion of rhythm as an epitomizing ground for the conjunction of the extraordinary (art) and the ordinary (life).Universidad de Málaga. Campus de Excelencia Internacional Andalucía Tech

The Poetic Dimension of Everyday Aesthetic Appreciation. Perspectives from East-Asian Cultures

As Yuriko Saito, one of the main exponents of everyday aesthetics holds, East-Asian cultures have long established a deep link between artistic practices and everyday life, transforming apparently mundane practices such as having a cup o ftea with cakes into a highly ritualized form of art (cha-no-yu) and allowing us to enjoy the fleeting moment. The tea ceremony example is grounded, as this paper aims at showing, on a whole East-Asian worldview (as exemplfieied in Confucianism, Daoism and Zen Buddhism philosophies) whereby aesthetic appreciation is deeply pervaded by a poetic feeling, mainly consisting in the interactive harmony or attunement established with the particular circumstances of one’s own life due precisely to its fleeting and evanescent nature. To accomplish this, savouring and perceiving the uniqueness ingrained in every single human experience, the adequate attitude is the poetic one, due to its holistic and non-discriminative nature. Having as its focus everyday life, or simply put, life as such in its specificity, traditional artistic practices in East-Asia as the arts of the brush, garden design or utilitarian crafts such as pottery, become means of revealing what, due to its closeness, lies hidden in ordinary experience. Utilitarian arts are, in this sense, a priviledged way of conveying this end due precisely to its practical link with ordinary existence, preventing the eventual arousal of a purely formal and detached apprehension. The only coherent way to develop this awareness of the extraordinary in the ordinary, to use Leddy’s expression, is through the main feature of all poetic qualities: indirect allusion and subdued reference so that what is close at hand may shine in a different light. Particularly, in association with Japanese Zen Buddhism, where the rootedness of aesthetics in the ordinary is stronger, it has frequently adopted the form of restraint, contention, reserve, or, as Saito puts it, “insufficiency”. This paper aims at showing with the help of a few examples how this difuse poetic attitude, so prevalent in Traditional East-Asian contexts, is required not only in standardized art practices, but also in a wider aesthetic level of awareness of our ordinary experiences. In order to justify these claims, it will refer first to the ideal of harmony or poetic resonance in Chinese aesthetics and then it will refer to some concrete Japanese aesthetic categories inspired by Zen Buddhism, such as mono-no-aware, sabi, wabi, or yugen

Jornada sobre Riscos Penals de la Banca en Línia

Ressenya de la jornada organitzada el desembre del 2005 sobre els nous riscos a què la banca en línia i el comerç electrònic estan sotmesos a causa de l'augment d'atacs de tipus pesca electrònica o phishing i altres defraudacions semblants.</p

On the link between the coefficient of determination and polarization

In this paper, taking as starting point the link between polarization and dispersion, we reformulate the measure of polarization of Zhang and Kanbur (2001) using the decomposition of the variance instead of the decomposition of the Theil index. The proposed measure is equivalent to the coefficient of determination of an ANOVA Linear Model, that explains the income of the households as a function of any population characteristic e.g. education, gender, occupation etc. This result provides an alternative way to analyze polarization by household characteristics and at the same time allows us to compare sub-populations via the estimated coefficients of the ANOVA model.Polarization, coefficient of determination, ANOVA model.

Alexina B., Contemporary Opera as Consolation

Review-Essay of the opera Alexina B. Music by Raquel García-Tomás, libretto by Irène Gayraud, stage direction by Marta Pazos. Gran Teatre del Liceu, Barcelona, March 2023

La composició contemporània gallega als Estats Units : Octavio Vázquez

El compositor espanyol Octavio Vázquez (Santiago de Compostel·la, 1972) ha desenvolupat gran part de la seva activitat musical als Estats Units a partir d'un fort arrelament a la seva Galícia natal, una relació que marca la seva obra i la seva estètica, lligada a la tradició postromàntica. L'objectiu d'aquest text és analitzar la trajectòria que ha seguit el músic que presentem i atansar-se als trets compositius de la seva personalitat.Der spanische Komponist Octavio Vázquez (Santiago de Compostela, 1972) hat einen Großteil seiner Musiktätigkeit in den Vereinigten Staaten verwirklicht, ohne dabei seine engen Beziehungen mit seiner Heimat Galizien aufzugeben, eine Beziehung, die sein Werk und seine in der postromanistischen Tradition verwurzelte Ästhetik bestimmt. Die Analyse seines Werdegangs und die Annäherung an seine kompositorischen Wesenszüge sind das Ziel dieses Textes.Spanish composer Octavio Vázquez (Santiago de Compostela, 1972) has spent most of his musical career in the US, though with strong roots in his native Galicia, a relationship that marks his work and aesthetic which are embedded in post-Romantic tradition. Analysing his career and compositional features are the subject of this text.El compositor español Octavio Vázquez (Santiago de Compostela, 1972) ha desarrollado gran parte de su actividad musical en Estados Unidos a partir de una fuerte raigambre en su Galicia natal, una relación que marca su obra y su estética, enclavada en la tradición postromántica. Analizar su trayectoria y acercarse a sus rasgos compositivos son el objeto de este texto.Le compositeur espagnol Octavio Vázquez (Saint-Jacques de Compostelle, 1972) a développé grande part de son activité musicale aux Etats-Unis, à partir d'un enracinement profond dans sa Galice natale - relation qui marque son oeuvre et son esthétique, enclavée dans la tradition postromantique. L'objectif de ce texte est d'analyser sa trajectoire et de proposer une approche des caractéristiques de sa composition

La dimensión mítica de los personajes vanguardistas. Una reflexión en torno a la teoría de Ortega y Gasset

In the late nineteenth-century realism consolidates the development of fictional characters, but shortly after there is a turn in narrative to abstraction that induces Ortega y Gasset to reflect on what are the defining characteristics of a literary character. In Meditations on Quixote (1914), The Dehumanization of Art and Ideas on the novel (both from 1925) he makes a historical analysis that concludes with an assessment of contemporary literature. Many of the avant-garde narrators formed around him take into account his writings and experiment with his proposals. In this process, myth plays a major role, both as the poetic substance and as the cultural foundation of many of the protagonists of the experimental 20‟s novel.En el realismo de finales del XIX se consolida el desarrollo de los personajes novelescos, pero muy poco tiempo después se produce un giro en la narrativa hacia la abstracción que induce a Ortega y Gasset a reflexionar sobre cuáles son las características que definen un personaje literario. En Meditaciones del Quijote (1914), La deshumanización del arte e Ideas sobre la novela (ambos de 1925) hace un análisis histórico que concluye ofreciendo un diagnóstico de la literatura contemporánea. Muchos de los narradores vanguardistas, formados a su sombra, tienen en cuenta sus escritos y experimentan con sus propuestas. En este proceso el mito juega un papel principal, como sustancia de lo poético y como sustrato cultural de muchos de los protagonistas de la novela experimental de los años 20