El Yo y la intimidad en Ortega y Gasset

El concepto del Yo en el pensamiento de José Ortega y Gasset aparece en repetidas ocasiones a lo largo de su obra, abordado desde diferentes perspectivas y entreverado con reflexiones intelectuales de todo tipo: psicológicas, sociológicas, artísticas, históricas, etc. Sin embargo, el enfoque de este escrito se acota a la importante relación epistemológica entre su raciovitalismo y su visión sobre la intimidad personal, centro y origen del desarrollo del Yo humano. Gracias a la riqueza de esta puede el Yo desarrollar su vocación personal hacia la autenticidad a la que está llamado, salvando de esta manera la incertidumbre, el drama y el destino al que se enfrenta a la hora de vivir la propia circunstancia.

Hybrid philosophy and rational vitalism in Canguilhem and Ortega y Gasset

This paper explores the problem of the synthesis between vitalism and rationalism, in contemporary philosophy. With this aim, we compare the intellectual careers of Georges Canguilhem (1904-1995) and José Ortega y Gasset (1883-1955). We contrast their conceptions of philosophy as “hybrid” knowledge, closely related to science, as well as their points of view on Vitalism, anthropology, the technique and the perspectivism. To avoid that comparison is purely abstract and ahistorical, we use the method of the sociology of philosophy. This forces us to locate both paths in their respective philosophical fields and generational units, also according to his social background and professional career.

Art, biology and technology. Interdisciplinary relations in the science lab

Bio art, understood as the convergence of the relations between art, biology and technology, constitutes a useful case study to discuss the meaning of interdisciplinarity in the artistic field. This paper explores different discourses around interdisciplinarity in order to challenge certain generic approaches for their ineffectiveness when assessing artistic practices. It is proposed that the analysis of interdisciplinarity must address the singular connections produced in the artistic practice itself, considering the impossibility of reducing the complexity of interdisciplinary dialogues into generic considerations. Taking bioart as a case study, different kinds of relationships between the artist and the lab are identified and analyzed, ranging from the use of the lab as a true atelier and as a resource for materials and techniques, to the rejection of the lab by proposing amateurism as an alternative. estrategias amateur, pasando por su utilización como fuente de técnicas y materiales.