Heidegger y lo insondable del pensar

En este artículo propongo denominar insondable al concepto de pensar en Heidegger para referirme tanto al pensar como acontecimiento, como a aquello a lo que se refiere el pensar. Se trata, por una parte, del pensar pensante, reflexionante, meditativo que se da precisamente en el tránsito que va de una metafísica de la representación al pensamiento que ha de pensar la verdad del ser. Pero lo insondable hace referencia también al qué del pensar, al misterio del ser que es siempre el misterio de una donación abierta que no se deja encapsular en el férreo dogmatismo de ningún sistema. Lo primero nos sitúa ante el final de la filosofía tal y como ha sido concebida hasta ahora. Lo segundo, ante el inicio de un pensar auténtico del ser que, en nuestra opinión, es a la vez contemplativo y crítico y a la vez que posibilita renovar la relación del hombre con el mundo, con lo ente, marcada por la serenidad consecuente con el cuidado.

Standardization in the Pre-Columbian Pottery from El Caño, Panama: Specialization, Productivity and Consumption

The pottery found in the burials of El Cano is uniform in style to these made in the coclesanos valleys between 700 and 1000 AD. The coefficient of variability of the different pottery forms, evidence diverse standardizations values for polychrome and non-polychrome ceramics. Moreover, data of funerary contexts from the Cano recently excavated, suggest that elite has controlled ceramic production. This control over the production of certain goods reveals that these were important in the support or proper operational of the chiefdoms in Panama and mark the phase of splendour of this culture.

Reconsidering the Origins of Forsbergh Birefringence Patterns

In 1949, P. W. Forsbergh Jr. reported spontaneous spatial ordering in the birefringence patterns seen in flux-grown BaTiO3 crystals [1], under the transmission polarized light microscope [2]. Stunningly regular square-net arrays were often only found within a finite temperature window and could be induced on both heating and cooling, suggesting genuine thermodynamic stability. At the time, Forsbergh rationalized the patterns to have resulted from the impingement of ferroelastic domains, creating a complex tessellation of variously shaped domain packets. However, evidence for the intricate microstructural arrangement proposed by Forsbergh has never been found. Moreover, no robust thermodynamic argument has been presented to explain the region of thermal stability, its occurrence just below the Curie Temperature and the apparent increase in entropy associated with the loss of the Forsbergh pattern on cooling. As a result, despite decades of research on ferroelectrics, this ordering phenomenon and its thermodynamic origin have remained a mystery. In this paper, we re-examine the microstructure of flux-grown BaTiO3 crystals, which show Forsbergh birefringence patterns. Given an absence of any obvious arrays of domain polyhedra, or even regular shapes of domain packets, we suggest an alternative origin for the Forsbergh pattern, in which sheets of orthogonally oriented ferroelastic stripe domains simply overlay one another. We show explicitly that the Forsbergh birefringence pattern occurs if the periodicity of the stripe domains is above a critical value. Moreover, by considering well-established semiempirical models, we show that the significant domain coarsening needed to generate the Forsbergh birefringence is fully expected in a finite window below the Curie Temperature. We hence present a much more straightforward rationalization of the Forsbergh pattern than that originally proposed, in which exotic thermodynamic arguments are unnecessary.

Un discours persuasif : Étude narrative de L'Auberge et Le Horla – deux contes fantastiques de Guy de Maupassant

Ce mémoire se compose d’une analyse narrative de deux nouvelles fantastiques par Guy de Maupassant : L’Auberge et la seconde version du Horla. La narration du premier de ces contes est extradiégétique, ce qui signifie que le narrateur se trouve en dehors de l’univers fictif. Le deuxième texte, en revanche, est un exemple d’une narration intradiégétique – le narrateur est donc un personnage du récit. Le but principal de l’étude est d’examiner comment le discours du narrateur, selon qu’il est extradiégétique ou intradiégétique, influence la perception des récits et des protagonistes. Pour atteindre cet objectif, nous identifions d’abord quelques stratégies narratives qui sont employées dans les nouvelles afin d’évoquer l’hésitation du lecteur et ainsi créer l’effet fantastique. Nous observons que, suivant le mode de la narration, extradiégétique ou intradiégétique, les stratégies narratives utilisées sont de différentes natures. Elles coopèrent toutefois pour créer un sentiment d’hésitation au lecteur et conduisent donc celui-ci à considérer l’existence du surnaturel dans le monde diégétique. Enfin, nous montrons de plus près comment le discours du narrateur influence la manière dont le lecteur considère le comportement des personnages principaux ainsi que leur santé mentale. Nous voyons que dans tous les deux textes, il n’y a aucun doute que le protagoniste devient finalement fou. Cependant, tandis que le savoir du narrateur omniscient aide enfin le lecteur à résoudre le mystère fantastique dans L’Auberge, le mystère n’est jamais résolu dans Le Horla. Cela semble être attribué à la perception et au savoir limité du narrateur intradiégétique.

May the Giant Be With You: Twin Peaks Season Two, Episode One and the Television Auteur

The premiere of Season Two of Twin Peaks garnered some of the highest ratings of the series, with celebrated filmmaker and co-creator David Lynch stepping back into the director’s chair. Yet, within this episode many traditional television conventions are flouted, and in response the following week the ratings dropped dramatically. From its slow-paced opening scenes in which an old man admonishes the wounded, bleeding protagonist to drink his warm milk before it gets cold, followed by a vision of a giant speaking in riddles, this episode not only tested its audience’s patience but also seemed to set out to deliberately confuse them. In this essay I will explore how this episode is an example of auteur television, an episode in which the director expresses a consistency of style and theme that is similar to their other work, as well as examine how Lynch’s approach to televisual aesthetics has influenced the way that contemporary film directors have crossed over into the television medium. However, when taking into account the differences in the two media of film and television notions of authorship, with regards to the position of the director, become complicated, especially when considering contemporary television and the rise of the showrunner as key creative force. Even when looking back at Lynch’s contribution to Twin Peaks it becomes clear that the series was deeply collaborative, with Lynch absent during parts of the filming. Yet, when examining the extensive material that has been written about Twin Peaks there is still a continuing tendency to place Lynch as the sole author. The placement of Lynch as author can be argued in relation to the episodes he directed (as will be explored below in relation to the first episode of Season Two), but cannot be attributed to him alone when considering the series as a whole. Finally, I will discuss how the figure of the television auteur has become a central element of television reception rather than production, an integral part of a viewer’s search for narrative meaning in a medium where complexity and mystery are now expected and enjoyed. Just as fans scrambled to uncover the many secrets and mysteries of Twin Peaks by looking to Lynch’s other works for answers, a similar process is experienced by fans of television shows existing today.

More Than a Wallet: Serving the Older Consumer

Considers the values, behaviour and needs of older shoppers in terms of interactions with employees; interactions with other shoppers present in the retail environment; and physical aspects of the retail environment.

Rainbow World: Poems from many cultures.

This work is an authoritative collection of poems from other cultures for the 21st century. Poets included range from Valerie Bloom, Jackie Kay, Benjamin Zephaniah, Lemn Sissay, Meiling Jin, Tao Lang Pee and Bekleen Leong to Rabrindranath Tagore, Monica Alvi and Chuang Tzu. Comprising over 100 contributions, there is a balance of poets in ethnicity and gender, and of poems in content, form and style. Themes covered include: Food, festivals and festivities; Race, culture and identity; Families, friends and enemies; Travel and landscape; Language and nonsense; The animal world; and, School and playground and Mystery, myth and magic.

Les mondes imaginaires de Mélanie de Coster, une écrivaine en proie à la fantaisie

[es] En esta entrevista se pretende indagar en los mundos imaginarios de Mélanie de Coster, una escritora belga de literatura fantástica actual. Desde que publicase su primer libro en 2003, De Coster ha experimentado la fusión de elementos pertenecientes a la estética de lo fantástico con otros géneros haciendo de este su sello personal. Lo fantástico se revela así como una aproximación que no centra la acción narrada, sino que la enriquece aportándole elementos de sorpresa, de angustia o de misterio. En su novela más puramente fantástica, De l’autre côté des mondes, la trama principal adquiere incluso matices sociales. Todo ello resulta en una producción ciertamente heterogénea en la que lo fantástico se erige como hilo conductor. [es] This interview explores the imaginary worlds created by Mélanie de Coster, a Belgian writer of contemporary fantastic literature. Ever since she published her first book in 2003, De Coster has combined elements from the aesthetics of the fantastic with other genres, thus making this her personal trademark. The fantastic becomes then an approach which is not at the core of the story told, but it rather complements it by adding some features like surprise, anxiety or mystery. In her most recent novel, De l’autre côté des mondes, the main plot even includes some social worries. Eventually, the fantastic becomes the leading thread of such a heterogeneous production.

Are we all castrati? Venanzio Rauzzini: ‘The father of a new style in English singing’

Though the castrato has been absent from the operatic stage since the nineteenth century, this voice is often described as the mysterious link in understanding the vocal techniques attributed to bel canto. The mystery lies in the fact that the voice of the operatic castrato cannot be heard by modern ears; and yet its legacy can be seen in the vocal tuition of several successful opera singers at the turn of the nineteenth century. What is unusual about this period is that some of the most successful singers of the day, including Nancy Storace, John Braham and Elizabeth Billington were British and shared the same vocal teacher. The castrato Venanzio Rauzzini (1746-1810) began his career as a primo uomo on the continent and while he established himself in various areas of musical activity, his main contribution and legacy was as a vocal teacher. During his residency in Britain from 1774 until his death, he trained several leading British professional singers who were the stars of opera in London and on the continent. They each demonstrated a use of techniques associated with the castrato vocal aesthetic and popularised a new vocal style, which can be traced to Rauzzini. Through this thesis, I will draw attention to the importance of Rauzzini’s impact on vocal teaching practice in Britain and his wider influence on the development of vocal style. I will demonstrate that Rauzzini should be considered part of the vocal teaching canon to which Pier Francesco Tosi (c.1653-1732), Nicola Porpora (1686-1768) and Manual García II (1805-1906), three other foreign vocal teachers, who were resident in Britain, already belong. By examining exactly what the expected vocal aesthetics were for all singers, castrato, non-castrated male and female during the period in which Rauzzini was active, I will demystify the castrato technique and provide a more tangible understanding of what this encompassed, demonstrating that many of these techniques were learned, performed and popularised by other voice types such as the female soprano and the male tenor.

Comparison of firmness meters for measuring ‘Hass’ avocado fruit firmness

The temporal passage of fruit through the supply chain and the selection of consumable fruit by shoppers depend primarily upon fruit firmness. Traditionally, fruit firmness measuring methods, like Effegi and conical probes, are relatively inefficient and destructive. Simple, accurate and non-damaging methods of measuring fruit firmness are ideally required to help assure eating quality to the consumer without fruit wastage. The firmness of 'Hass' avocado fruit at a range of ripening stages was measured with the various different firmness measuring techniques of the Sinclair iQ Firmness Tester (SIQFT), the Electronic Firmometer (EF), the Analogue Firmness Meter (AFM) and hand squeezing. Measurements were made by each method at different points on the same fruit. Destructive bruise assessment was performed 48 h later, thereby allowing sufficient time for fruit to express any bruising resulting from the act of firmness measurements. Non-linear relationships were determined between fruit firmness values measured with the different techniques. The adjusted R2 for the relationship between the SIQFT and the EF was 91.6%. For the SIQFT and the AFM, the adjusted R2 was 73.7%. It was 77.7% for the SIQFT and hand squeezing. A significantly (P<0.05) high incidence of bruising was associated with firmness assessment by the EF as compared with either the SIQFT or the AFM. Among the methods compared, the SIQFT was non-damaging compared with the EF and relatively efficient for measuring the firmness. This instrument merits consideration as a quality control tool of choice in 'Hass' avocado supply chains.

Przestrzenne formy upamiętniania Zagłady

This book is a synthesizing reflection on the Holocaust commemoration, in which space becomes a starting point for discussion. The author understands space primarily as an amalgam of physical and social components, where various commemorative processes may occur. The first part of the book draws attention to the material aspect of space, which determines its character and function. Material culture has been a long ignored and depreciated dimension of human culture in the humanities and social sciences, because it was perceived as passive and fully controlled by human will, and therefore insignificant in the course of social and historical processes. An example of the Nazi system perfectly illustrates how important were the restrictions and prohibitions on the usage of mundane objects, and in general, the whole material culture in relation to macro and micro space management — the state, cities, neighborhoods and houses, but also parks and swimming pools, factories and offices or shops and theaters. The importance of things and space was also clearly visible in exploitative policies present in overcrowded ghettos and concentration and death camps. For this very reason, when we study spatial forms of Holocaust commemoration, it should be acknowledged that the first traces, proofs and mementoes of the murdered were their things. The first "monuments" showing the enormity of the destruction are thus primarily gigantic piles of objects — shoes, glasses, toys, clothes, suitcases, toothbrushes, etc., which together with the extensive camps’ space try to recall the scale of a crime impossible to understand or imagine. The first chapter shows the importance of introducing the material dimension in thinking about space and commemoration, and it ends with a question about one of the key concepts for the book, a monument, which can be understood as both object (singular or plural) and architecture (sculptures, buildings, highways). However, the term monument tends to be used rather in a later and traditional sense, as an architectural, figurative form commemorating the heroic deeds, carved in stone or cast in bronze. Therefore, the next chapter reconstructs this narrower line of thinking, together with a discussion about what form a monument commemorating a subject as delicate and sensitive as the Holocaust should take on. This leads to an idea of the counter-monument, the concept which was supposed to be the answer to the mentioned representational dilemma on the one hand, and which would disassociate it from the Nazi’s traditional monuments on the other hand. This chapter clarifies the counter-monument definition and explains the misunderstandings and confusions generated on the basis of this concept by following the dynamics of the new commemorative form and by investigating monuments from the ‘80s and ‘90s erected in Germany. In the next chapter, I examine various forms of the Holocaust commemoration in Berlin, a city famous for its bold, monumental, and even controversial projects. We find among them the entire spectrum of memorials – big, monumental, and abstract forms, like Peter Eisenman’s Memorial to the Murdered Jews of Europe or Daniel Liebeskind’s Jewish Museum Berlin; flat, invisible, and employing the idea of emptiness, like Christian Boltanski’s Missing House or Micha Ullman’s Book Burning Memorial; the dispersed and decentralized, like Renata Stih and Frieder Schnock’s Memory Places or Gunter Demnig’s Stumbling Blocks. I enrich descriptions of the monuments by signaling at this point their second, extended life, which manifests itself in the alternative modes of (mis)use, consisting of various social activities or artistic performances. The formal wealth of the outlined projects creates a wide panorama of possible solutions to the Holocaust commemoration problems. However, the discussions accompanying the building of monuments and their "future life" after realization emphasize the importance of the social component that permeates the biography of the monument, and therefore significantly influences its foreseen design. The book also addresses the relationship of space, place and memory in a specific situation, when commemoration is performed secretly or remains as unrealized potential. Although place is the most common space associated with memory, today the nature of this relationship changes, and is what indicates popularity and employment of such terms as Marc Augé’s non-places or Pierre Nora’s site of memory. I include and develop these concepts about space and memory in my reflections to describe qualitatively different phenomena occurring in Central and Eastern European countries. These are unsettling places in rural areas like glades or parking lots, markets and playgrounds in urban settings. I link them to the post-war time and modernization processes and call them sites of non-memory and non-sites of memory. Another part of the book deals with a completely different form of commemoration called Mystery of memory. Grodzka Gate - NN Theatre in Lublin initiated it in 2000 and as a form it situates itself closer to the art of theater than architecture. Real spaces and places of everyday interactions become a stage for these performances, such as the “Jewish town” in Lublin or the Majdanek concentration camp. The minimalist scenography modifies space and reveals its previously unseen dimensions, while the actors — residents and people especially related to places like survivors and Righteous Among the Nations — are involved in the course of the show thanks to various rituals and symbolic gestures. The performance should be distinguished from social actions, because it incorporates tools known from religious rituals and art, which together saturate the mystery of memory with an aura of uniqueness. The last discussed commemoration mode takes the form of exposition space. I examine an exhibition concerning the fate of the incarcerated children presented in one of the barracks of the Majdanek State Museum in Lublin. The Primer – Children in Majdanek Camp is unique for several reasons. First, because even though it is exhibited in the camp barrack, it uses a completely different filter to tell the story of the camp in comparison to the exhibitions in the rest of the barracks. For this reason, one experiences immersing oneself in all subsequent levels of space and narrative accompanying them – at first, in a general narrative about the camp, and later in a specifically arranged space marked by children’s experiences, their language and thinking, and hence formed in a way more accessible for younger visitors. Second, the exhibition resigns from didacticism and distancing descriptions, and takes an advantage of eyewitnesses and survivors’ testimonies instead. Third, the exhibition space evokes an aura of strangeness similar to a fairy tale or a dream. It is accomplished thanks to the arrangement of various, usually highly symbolic material objects, and by favoring the fragrance and phonic sensations, movement, while belittling visual stimulations. The exhibition creates an impression of a place open to thinking and experiencing, and functions as an asylum, a radically different form to its camp surrounding characterized by a more overwhelming and austere space.

Looking at the night sky

There are two series of images in this exhibition: Series # 1: Images 4 – 9 Astronomical observatories in different countries and telescopes which have made some important discoveries in science of astronomy. These images were taken with simple primitive camera including a homemade toy camera and a Holga pinhole camera. The toy camera use a simple plastic lens and film. It produces a very softly focused and blurred image. The Holga Pinhole camera has a panoramic format and also uses film. (The pinhole camera has no lens and only a very small pinhole to lets the light into the camera to produce a simple image) For me the limited resolution of these primitive cameras invoke a sense of wonder, mystery and imagination which the ancient observers must have experienced when looking at the night sky. Series # 2: Images 1 – 3 and 9 - 14 presents individual celestial objects including, the planet Saturn, the Moon, the Sun, a comet and a Star Cluster. All these images have been re-photographed through a number of large primitive lenses. Some are hand made glass lenses and others are hollow and filled with water. These primitive lenses distort and stretch the images and represent the way in which the lens and (the telescope) have changed our vision of the cosmos. They also represent the subjectivity of the lens, something that all photographers know about - just because we see something through a lens, does not mean that all has been revealed and that what finally perceive is both a combination of what we see and what we feel inside and our imagination. The toy and pinhole camera images were made during a 5 year period starting in 2010 and up to 2015. The second series have all been made during 2015.

Economic evaluation of price discounts and skill-building strategies on purchase and consumption of healthy food and beverages: The SHELf randomized controlled trial

OBJECTIVE: Pricing strategies are a promising approach for promoting healthier dietary choices. However, robust evidence of the cost-effectiveness of pricing manipulations on dietary behaviour is limited. We aimed to assess the cost-effectiveness of a 20% price reduction on fruits and vegetables and a combined skills-based behaviour change and price reduction intervention. DESIGN AND METHODS: Cost-effectiveness analysis from a societal perspective was undertaken for the randomized controlled trial Supermarket Healthy Eating for Life (SHELf). Female shoppers in Melbourne, Australia were randomized to: (1) skill-building (n = 160); (2) price reductions (n = 161); (3) combined skill-building and price reduction (n = 161); or (4) control group (n = 161). The intervention was implemented for three months followed by a six month follow-up. Costs were measured in 2012 Australian dollars. Fruit and vegetable purchasing and consumption were measured in grams/week. RESULTS: At three months, compared to control participants, price reduction participants increased vegetable purchases by 233 g/week (95% CI 4 to 462, p = 0.046) and fruit purchases by 364 g/week (95% CI 95 to 633, p = 0.008). Participants in the combined group purchased 280 g/week more fruits (95% CI 27 to 533, p = 0.03) than participants in the control group. Increases were not maintained six-month post intervention. No effect was noticed in the skill-building group. Compared to the control group, the price reduction intervention cost an additional A$2.3 per increased serving of vegetables purchased per week or an additional A$3 per increased serving of fruit purchased per week. The combined intervention cost an additional A$12 per increased serving of fruit purchased per week compared to the control group. CONCLUSIONS: A 20% discount on fruits and vegetables was effective in promoting overall fruit and vegetable purchases during the period the discount was active and may be cost-effective. The price discount program gave better value for money than the combined price reduction and skill-building intervention. The SHELf trial is registered with Current Controlled Trials Registration ISRCTN39432901.

Shopsmart 4 health: results of a randomized controlled trial of a behavioral intervention promoting fruit and vegetable consumption among socioeconomically disadvantaged women

BACKGROUND: Behavioral interventions show potential for promoting increased fruit and vegetable consumption in the general population. However, little is known about their effectiveness or cost-effectiveness among socioeconomically disadvantaged groups, who are less likely to consume adequate fruit and vegetables. OBJECTIVE: This study investigated the effects and costs of a behavior change intervention for increasing fruit and vegetable purchasing and consumption among socioeconomically disadvantaged women. DESIGN: ShopSmart 4 Health was a randomized controlled trial involving a 3-mo retrospective baseline data collection phase [time (T) 0], a 6-mo intervention (T1-T2), and a 6-mo no-intervention follow-up (T3). Socioeconomically disadvantaged women who were primary household shoppers in Melbourne, Australia, were randomly assigned to either a behavior change intervention arm (n = 124) or a control arm (n = 124). Supermarket transaction (sales) data and surveys measured the main outcomes: fruit and vegetable purchases and self-reported fruit and vegetable consumption. RESULTS: An analysis of supermarket transaction data showed no significant intervention effects on vegetable or fruit purchasing at T2 or T3. Participants in the behavior change intervention arm reported consumption of significantly more vegetables during the intervention (T2) than did controls, with smaller intervention effects sustained at 6 mo postintervention (T3). Relative to controls, vegetable consumption increased by ∼0.5 serving · participant(-1) · d(-1) from baseline to T2 and remained 0.28 servings/d higher than baseline at T3 among those who received the intervention. There was no intervention effect on reported fruit consumption. The behavior change intervention cost A$3.10 (in Australian dollars) · increased serving of vegetables(-1) · d(-1)CONCLUSIONS: This behavioral intervention increased vegetable consumption among socioeconomically disadvantaged women. However, the lack of observed effects on fruit consumption and on both fruit and vegetable purchasing at intervention stores suggests that further investigation of effective nutrition promotion approaches for this key target group is required. The ShopSmart 4 Health trial was registered at www.isrctn.com as ISRCTN48771770.

Furie, curiosité, solidarité : mise en scène de la tension dans le cinéma des frères Dardenne

Ce mémoire de recherche-création est accompagné du court métrage «Tala». Pour visionner en ligne : vimeo.com/ondemand/talapierphilippechevigny