Justificación y error en Descartes: un argumento pragmatista en la validación cartesiana del criterio de claridad y distinción

La percepción clara y distinta es el elemento sobre el que se asienta la certeza metafísica de Descartes. Con todo, el planteamiento de los argumentos escépticos referidos a la duda metódica cartesiana ha evidenciado la necesidad de hallar una justificación al propio criterio de la percepción clara y distinta. Frente a los intentos basados en la indubitabilidad de la percepción o en la garantía surgida de la bondad divina, se defenderá una justificación alternativa pragmatista.

La predicción y la regla de los signos de descartes

René Descartes publicó en 1637 su famosa Géométrie, un tratado donde aplica el álgebra a la geometría y desarrolla un original sistema de álgebra simbólica. En el tercer libro de la Géométrie enuncia, sin demostración, su célebre regla de los signos de Descartes. Durante dos siglos, el mundo matemático intentó sin éxito una demostración general y satisfactoria a los estándares de la época. Finalmente, Carl Frederick Gauss la demostró de la manera más general en 1828 recurriendo a métodos algebraicos. En este artículo, presentamos el tratamiento que la regla de los signos tiene en los libros de texto de álgebra y proponemos una justificación original alternativa apoyada en la idea de predicción que, hasta donde sabemos, no ha sido reportada en la literatura especializada.

Memorando de Entendimiento -Parte II Florence University of the Arts reúne: APICIUS: Escuela Internacional de Hostelería Apicius. DIVA: Imagen Digital y Artes Visuales. FAST: Estudios y Accesorios de Moda y Tecnología. IDEAS: Escuela de Diseño de Interiores, Arquitectura y Sostenibilidad Ambiental. ISB: Escuela Internacional de Negocios. J SCHOOL: Escuela de Periodismo, Comunicación y Edición. SAS: Escuela de Artes y Ciencias. sQuola: Centro de Estudios Contemporáneos italianos

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Le langage chez Descartes dans la réflexion sur la nature des animaux

Descartes pose l’identité entre l’animal et la machine sur le plan de leur nature. Le présent texte examine l’importance de la notion de langage dans l’expérience de pensée de Descartes portant sur l’animal, et ce, à partir du test du langage présenté dans le Discours de la méthode. L’échec au test du langage témoigne de leur incapacité à manifester des aptitudes langagières minimales ce qui supporte le jugement cartésien voulant que les animaux soient des machines dénuées d’âme et de pensée. De plus, le discours sur la nature des animaux est l’occasion de faire valoir le caractère universel de la raison.

Le langage chez Descartes dans la réflexion sur la nature des animaux

Descartes pose l’identité entre l’animal et la machine sur le plan de leur nature. Le présent texte examine l’importance de la notion de langage dans l’expérience de pensée de Descartes portant sur l’animal, et ce, à partir du test du langage présenté dans le Discours de la méthode. L’échec au test du langage témoigne de leur incapacité à manifester des aptitudes langagières minimales ce qui supporte le jugement cartésien voulant que les animaux soient des machines dénuées d’âme et de pensée. De plus, le discours sur la nature des animaux est l’occasion de faire valoir le caractère universel de la raison.

Informe

Much landscape architectural form seems like hackneyed modernism, whether it be orthogonal or biomorphic, 'formal or informal' and doesn't seem to get to grips with the truly complex nature of the landscape, making any project seem potentially simplistic. This is largely because it has inherited languages from architecture that are based around objects, and that therefore can act to make designs self-referential rather than edgy instances in a dialogue much larger than the site itself, connected to systems that are unavoidable, even if one chooses to ignore them. These systems constitute a formal language even if landscape architecture looks to things like GIS to engage with them. Tropospheric Temperament was an Advanced Computing subject, for second-year landscape architecture students at UWA, taught by Julian Raxworthy and Rene Van Meeuwen, which ran in Semester 1, 2004. For this subject, the question was: how can we learn to wield such systems in design terms, even if they are developed through un-self-conscious natural and vernacular forces?

TraSe algorithm : automatic evolutionary morphing of electronic dance music

The TraSe (Transform-Select) algorithm has been developed to investigate the morphing of electronic music through automatically applying a series of deterministic compositional transformations to the source, guided towards a target by similarity metrics. This is in contrast to other morphing techniques such as interpolation or parameters or probabilistic variation. TraSe allows control over stylistic elements of the music through user-defined weighting of numerous compositional transformations. The formal evaluation of TraSe was mostly qualitative and occurred through nine participants completing an online questionnaire. The music generated by TraSe was generally felt to be less coherent than a human composed benchmark but in some cases judged as more creative.

Note sequence morphing algorithms for performance of electronic dance music

This paper describes algorithms that can musically augment the realtime performance of electronic dance music by generating new musical material by morphing. Note sequence morphing involves the algorithmic generation of music that smoothly transitions between two existing musical segments. The potential of musical morphing in electronic dance music is outlined and previous research is summarised; including discussions of relevant music theoretic and algorithmic concepts. An outline and explanation is provided of a novel Markov morphing process that uses similarity measures to construct transition matrices. The paper reports on a ‘focus-concert’ study used to evaluate this morphing algorithm and to compare its output with performances from a professional DJ. Discussions of this trial include reflections on some of the aesthetic characteristics of note sequence morphing. The research suggests that the proposed morphing technique could be effectively used in some electronic dance music contexts.

Zonal chondrocyte subpopulations reacquire zone-specific characteristics during in Vitro redifferentiation

Background: If chondrocytes from the superficial, middle, and deep zones of articular cartilage could maintain or regain their characteristic properties during in vitro culture, it would be feasible to create constructs comprising these distinctive zones. ----- ----- Hypothesis: Zone-specific characteristics of zonal cell populations will disappear during 2-dimensional expansion but will reappear after 3-dimensional redifferentiation, independent of the culture technique used (alginate beads versus pellet culture).----- ----- Study Design: Controlled laboratory study.----- ----- Methods: Equine articular chondrocytes from the 3 zones were expanded in monolayer culture (8 donors) and subsequently redifferentiated in pellet and alginate bead cultures for up to 4 weeks. Glycosaminoglycans and DNA were quantified, along with immunohistochemical assessment of the expression of various zonal markers, including cartilage oligomeric protein (marking cells from the deeper zones) and clusterin (specifically expressed by superficial chondrocytes).----- ----- Results: Cell yield varied between zones, but proliferation rates did not show significant differences. Expression of all evaluated zonal markers was lost during expansion. Compared to the alginate bead cultures, pellet cultures showed a higher amount of glycosaminoglycans produced per DNA after redifferentiation. In contrast to cells in pellet cultures, cells in alginate beads regained zonal differences, as evidenced by zone-specific reappearance of cartilage oligomeric protein and clusterin, as well as significantly higher glycosaminoglycans production by cells from the deep zone compared to the superficial zone.----- ----- Conclusion: Chondrocytes isolated from the 3 zones of equine cartilage can restore their zone-specific matrix expression when cultured in alginate after in vitro expansion.