CFCUL - Livros de Actas
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- Constelacional, Portátil y Componible. El proceso creativo de Juan Fernando de Laiglesia, de la teoría a la praxis –y viceversa-Publication . Fuentes Cid, Sara; Cortizas, OlallaThis article aims to explore the keys that cross the artistic work of Juan Fernando de Laiglesia (Madrid, 1946). We will start from the analysis of the formal and conceptual convergences between some of his most recent works to characterize the universe of this author. We will also delve deeper into his work process, intimately linked to conceptual reflection. We will see how his particular way of doing has been translated into a particular way of engaging in the construction of thought from and to Art.
- Cyborgs and their limitsPublication . Gärtner, Klaus
- Deleuze et Beckett: l’image comme épuisement du motPublication . Pombo Nabais, Catarina
- Eco-Empathy, or towards a co-creative sympoietic embodied relation with more-than-human environmentsPublication . CORRÊA, Graça P.When we talk about empathy, we usually refer to a “transposing” emotional process towards other human beings (often less fortunate, more fragile or co-dependent beings), sometimes towards animals (mostly mammals), occasionally towards works of art (where the concept originated), but very seldom towards soil, rocks, seas, clouds, mineral, vegetal and nonvisible features of our environed Earth. My proposed reflection on eco-empathy focuses on our co-creative sympoietic embodied relation with more-than-human environments, or what we commonly term natural landscapes. Philosopher Bruno Latour recently observed how “economy, the science of managing limited resources, has become an argument for forgetting all limits” (2020), decrying how in the name of globalization we have finally succeeded in universalizing the same economizing and calculating humanoid over the whole surface of the Earth. In effect, so-called globalization has accelerated a process of territorial imperialism whereby wildlife sanctuaries, vast expanses of forests, agricultural lands, and even urban parks are being destroyed, to the point of extinguishing many animal and plant species, causing environmental degradation, and turning humans into “development refugees”. However, geopower refers not only to the ways that power is exerted over and through the Earth (as drawn from Michel Foucault’s notion of biopower), but also to the more-than-human forces of the Earth that so often disrupt humanly regulated environments, and whose material manifestations are both aesthetic by themselves and also reimagined in artistic form (Val Plumwood; Elizabeth Grosz). Drawing on questions pertaining to the aesthetics of the Earth’s geopower, this communication explores the aesthetic embodied experience of more-than-human natural scapes and spaces, ranging from the intimate playful observation of the poetics of seeds (Gaston Bachelard), to the sublime and terrifying beholding of the vastest unattainable mountains (Caspar David Friedrich, Sebastião Salgado, Godfrey Reggio). By dialogically connecting our affective intensities with these scapes and spaces – as in the Home-Tree action research project – we may learn to experience our belonging to the world, and be able to “detach the figure of the Earth from that of the Globe”, i.e., from an image that “gave shape to the imperial idea of a universal power grab” and control (Latour).
- Enfoques de investigación interdisciplinar: entre el Arte y la Filosofía de la CienciaPublication . Fuentes Cid, Sara; Cordovil, João LLas últimas décadas del siglo XX fueron escenario de innumerables transformaciones a nivel epistémico (Khun, 1962; Feyerabend 1975). Lejos de la matriz axiomática reduccionista y logicista, los epistemólogos analizaron: 1) la diversidad de los modos de producción del conocimiento científico, 2) ampliaron la comprensión de lo que es el conocimiento y 3) teorizaron sobre las complejidades e interrelaciones, tanto en el interior de dominios específicos, como entre diferentes dominios. Surgieron naturalmente Filosofías de la Ciencia externalistas, interdisciplinarias y abiertas. Es en este contexto donde surgen un conjunto de investigaciones que cuestionan la posibilidad y naturaleza de la relación entre Arte y Ciencia. Desde aquellos las colocan en oposición, hasta aquellos que defienden la integración del campo tecnocientífico con el campo de las Humanidades y las Artes. En concreto, esta propuesta es una apuesta por el triángulo formado por el Arte Contemporáneo, la Física Contemporánea y la Filosofía. Esta investigación, desarrollada en el seno de un equipo interdisciplinar con sede en la Universidade de Lisboa, versa sobre el análisis del concepto de “relación” como vínculo entre la Filosofía de la Ciencia (Realismo Estructural Ontológico) y el Arte Contemporáneo. Es, igualmente, una tentativa de explorar cómo el Arte puede contribuir para la comprensión de las preocupaciones y desafíos de la Ciencia Contemporánea, próximos de la hipótesis de la obra de arte como metáfora epistemológica enunciada por U. Eco (1962). Este proyecto pretende complementar un programa de investigación que ha sido muy prolífico en los últimos años (el estudio de las relaciones entre Arte y Ciencia), contribuyendo para una mejor comprensión de este fenómeno, clarificando ambigüedades e imprecisiones. También es expectable que tanto el material publicado como el análisis crítico de la literatura contribuyan para el enriquecimiento de los programas de las disciplinas universitarias en “Ciencia y Arte” en el panorama internacional.
- O Problema da InduçãoPublication . Zilhão, António
- Three Limitations of Algorithmic Reason: Steering the Human Mind in the Twenty First CenturyPublication . Castro, P.Artificial Intelligence has pervaded contemporary societies in almost every way as an externalized, fragmented, and optimized form of rationality. I call this externalized mode of thought “algorithmic rationality” and to the ideology favoring it, “algorithmic reason”. Although algorithmic reason original goal was to facilitate the arising of a highly participative and global Culture, fitting all citizens in a dynamic democratic society, History has it that AI technology would be ceased by consumer logic and computational propaganda. I discuss the economical, epistemological, and political implementation of algorithmic reason, introducing three cases. I argue that such implementation comprises a cybernetic loop, involving a centralized AI and its instrumentalized users. Commenting upon the ubiquity of such loop, I introduce three limitations of algorithmic reason. The first two are of a computational nature. The third owes its presence to a cybernetic loop, producing a steering effect on the human mind and promoting a cultural flattening effect. This, I conclude, may result in the impoverish of creativity, critical thought, and intellectual curiosity.