Naivety as a form of social classification in art: a sociological analysis

Indexación: Web of Science; Scielo.La noción de ingenuidad es una forma cotidiana de clasificación y explicación del mundo social. Usando el modelo de juegos de expresión de Erving Goffman, se observa que ella corresponde a la situación en que un actor asume que otro no modifica su comportamiento teniendo en cuenta lo que el primero aprende de él para alcanzar sus propios objetivos. En este artículo se explora la utilidad de este modelo para explicar el uso de la noción de ingenuidad en referencia a estructuras transinteractivas de mundos del arte.The notion of naivety is a form of classification and explanation of the social world. By applying Erving Goffman’s expression games model, it is observed that the notion of naivety corresponds to a situation in which an observer assumes that the observed subject does not accommodate his behavior to the presence of the observer, in the assumption that the latter might take advantage from what he learns from it. This article explores this model’s explanatory power in reference to the diverse forms in which the notion of naivety is used in contexts where transinteractive structures of the art world have to be taken into account.http://www.scielo.cl/scielo.php?script=sci_arttext&pid=S0717-34582001000200006&lng=es&nrm=is

La enfermedad de todos en el cuerpo propio: brujería y performatividad del tribunal de la raza indígena en Chiloé

Indexación: Web of Science; Scielo.RESUMEN Discursos dieron forma e hicieron real la asociación de brujos Tribunal de la Raza Indígena, también llamada Recta Provincia, en Chiloé a fines del siglo diecinueve. Tales discursos, recogidos en las actas del proceso judicial realizado contra individuos que fueron señalados como brujos en Chiloé en 1880, presuponen la distinción entre una dimensión inmanente y una dimensión transcendente del mundo, y una comprensión del cosmos como estando gobernado por la forma de la reciprocidad. La desilusión de las expectativas de reciprocidad en las cuales se sostenía el sistema social se podía manifestar como enfermedad en los cuerpos de los individuos. Esto daba lugar a la utilización de técnicas mágicas y de adivinación para compensar, por medio de la venganza, el quiebre de expectativas normativas de comportamiento. Palabras clave: Magia, brujería, pensamiento tradicional, cosmovisión, performatividad, Teoría de sistemas, Chiloé.ABSTRACT The records of the legal process undertaken against individuals that were signaled as practitioners of witchcraft in Chiloé at the end of the nineteenth century give account of discourses that, by sustaining a world in which its existence is plausible, created and realized an association of witchcraft, called Tribunal de la Raza Indígena, also known as the Recta Provincia. These discourses presuppose a distinction between an immanent and a transcendental dimension of the world, and a cosmos governed by laws of reciprocity. The Tribunal de la Raza Indígena, as it appears in these records, may be understood as an association of witches that used magical and divinatory techniques to compensate, through vengeance, episodes of violation of normative behavioral expectations that characterize reciprocal social relations. Such episodes were manifested in the form of sickness in the bodies of individuals. This gave way to the use of magical and divinatory techniques to compensate, through vengeance, the rupture of normative expectations of behavior. Keywords: Magic, witchcraft, traditional thought, world view, performativity, systems theory, Chiloé

The Elasticity of Substitution in Demand for Non-Tradable Goods in Uruguay

This paper`s main goal is to estimate the elasticity of substitution of non-tradable goods, paying special attention to empirical problems related to time-varying parameters, missing regressors and model misspecification. To that end, the paper creates a database and estimates, via three alternative methods, quarterly series of consumption and prices of tradable and non-tradable goods for Uruguay for the period 1983-2002. The econometric estimations of the parameter of interest were performed with VEC models. These estimates give a long-run elasticity of substitution of %0. 46 in the principal model and %0. 71 and %0. 75 in the two alternative models. Parametric stability tests are performed on the principal model, and the predictive ability of the model is also tested. It is concluded that, not only is the parameter of interest stable over time, but the model also has good predictive properties, even when tested in a very demanding environment: the period following Uruguay`s change of exchange rate regime in mid-2002.

Performance of adaptive bayesian equalizers in outdoor environments

Outdoor communications are affected by multipath propagation that imposes an upper limit on the system data rate and restricts possible applications. In order to overcome the degrading effect introduced by the channel, conventional equalizers implemented with digital filters have been traditionally used. A new approach based on neural networks is considered. In particular, the behavior of the adaptive Bayesian equalizer implemented by means of radial basis functions applied to the channel equalization of radio outdoor environments has been analyzed. The method used to train the equalizer coefficients is based on a channel response estimation. We compare the results obtained with three channel estimation methods: the least sum of square errors (LSSE) channel estimation algorithm, recursive least square (RLS) algorithm employed only to obtain one channel estimation and, finally, the RLS algorithm used to estimate the channel every decided symbol for the whole frame.Peer ReviewedPostprint (published version

El Universo hoy. Identidad, entropía, evolución

El profesor Jorge Estrella en su última obra no plantea una concepción del universo propiamente hablando, aunque no se pude negar que proporciona de modo efectivo descripciones de gran valor que podrían conducir a semejante finalidad.  

Colonial Andean painting: Symbolic structure and sincretism

Indexación: Web of Science; Scielo.La pintura andina, como forma característica del arte colonial en los Andes centrales, constituyó un caso de arte primariamente simbólico. En los contornos de la forma de símbolos hierofánticos operaba un medio en el cual la exploración de la estructura fundamental del sentido por medio de la operación de ornamentación se ponía al servicio de la observación de la dimensión trascendente de la realidad. A modo de una estructura de comunicación intercultural, esta forma de organización de la comunicación por medio de imágenes hizo posible que se dieran sincretismos iconográficos y estilísticos, los cuales han sido el principal objeto de interés de la historia social de la pintura andina.Andean painting, as a characteristic form of colonial art in the central Andes, constituted an art that was primarily symbolic. Surrounding hierophantic symbols, a medium for the reproduction of the operation of ornamentation was made available in which the exploration of the fundamental structure of the medium of meaning was put at the service of the observation of the transcendental dimension of reality. As a structure of intercultural communication, this mode of organization of communication through images made possible the occurrence of processes of iconographic and stylistic syncretism, which have been the main object of interest in the social history of colonial Andean painting.http://ref.scielo.org/ytp5r

Apuntes sobre un excepcional mosaico de influencia bizantina en el antiguo convento de Santa Clara

Archaeological stratigraphic sequence, constructive component, compositional and stylistic element, iconography and parallels are the aspects in which we will try to enter in this study that we offer under the following lines. This is a first preliminary advance that aims to extract an assessment of an exceptional piece of Byzantine tradition that will undoubtedly contribute to rethinking one of the most debated historical periods, with fewer testimonies in the archaeological record of our past and which, we believe, will help in the search for the origin and usefulness of the piece and its architectural environment.Secuencia estratigráfica arqueológica, componente constructivo, elemento compositivo y estilístico, iconografía y paralelos son los aspectos en los que intentaremos adentrarnos en este estudio que ofrecemos bajo las siguientes líneas. Se trata de un primer avance de carácter preliminar que pretende extraer una valoración acerca de una excepcional pieza musiva de tradición bizantina que, sin duda, contribuirá a suscitar de nuevo el replanteamiento de uno de los períodos históricos más discutidos, con menos testimonios en el registro arqueológico de nuestro pasado y que, estimamos, sirva de ayuda a la búsqueda del origen y utilidad de la pieza y su entorno arquitectónico

The guild of painters in the evolution of art in colonial Cusco

"This article aims at reappraising the role of the painters' guild in the evolution of art in colonial Cusco by critically assessing the theory proposed by José de Mesa and Teresa Gisbert, according to which the Indian painters' separation from this organization in the last decades of the seventeenth century caused the emergence of a local school of painting. Based mainly on an analysis of the sources used by these authors and on Francisco Quiroz's research on the situation of guilds in colonial Lima, it is argued that, whereas Indian painters might effectively have separated themselves from the painters' guild of Cusco around 1688, the historical narration constructed by Mesa and Gisbert erroneously assumes that this organization effectively enforced, before its split, ordinances similar to the ones approved for the painters' guild of Lima in 1649. Therefore, one should not assume that this event had decisive consequences in the evolution of art in this region. This article further argues that, by integrating Francisco Stastny's characterization of colonial peripheries and Niklas Luhmann's conceptualization of art as a form of communication, both the stylistic and the institutional histories of art in this region during the colonial period can be given account for as responding to a more encompassing societal context in terms of a non-differentiated art form characteristic of colonial peripheries." [author's abstract