Dogs in the paradise: The influence of the cynical philosophy in the construction of the myth of the good savage

This paper studies the influence of cynic philosophy in the construction of the myth of the good savage. In the first part it studies the importance of cynicism in the XVI century and how the cynic influence of Erasmus, More and Montaigne was fundamental to the way that Europe approached the American indigenous. In the second part it studies the cynic motives that could have influenced in the construction of the myth of the good savage.

ISO-SWS observations of CO2 and H2O in R cassiopeiae

We present ISO-SWS spectra of the O-rich Mira variable R Gas, showing CO2 in absorption and emission, and H2O in absorption. The CO2 absorption feature is the 01(1)0 - 00(0)0 ro-vibrationaI band at 14.97 mu m. The emission features are the 10(0)0-01(1)0 and 11(1)0 - 02(2)0 re-vibrational transitions at 13.87 and 13.48 mu m respectively. The water absorption spectrum shows the nu(1) and nu(3) re-vibrational bands in the 2.75 - 3 mu m region. Using LTE models, we derive physical parameters for the features. We find the CO2 emission temperature to be similar to 1100 K. We discuss the nature of the CO2 feature at 15 mu m and show that it can be modeled as an emission/absorption band by deviating front thermal equilibrium for the population of the 01(1)0 vibrational level. The H2O absorption spectrum is shown to arise from gas at different temperatures, but can be fit reasonably well with two components at T = 950 K and T = 250 K. The CO2 emission and hut H2O absorption temperatures an similar, suggesting chat these features probe the same region of the inner envelope. We discuss the inner envelope chemistry using molecular equilibrium calculations and recent modeling work by Duari et al. (1999), and find our observations consistent with the results.

La ciudad de Rávena y los paisajes de la abstracción en "Deserto Rosso" de Michelangelo Antonioni

La presente investigación trata de poner énfasis en la importancia del paisaje en Deserto Rosso de Michelangelo Antonioni, erigiéndose este como elemento fundamental de la trama argumental del filme. Partiendo de esta premisa, se analiza el significado de dicho paisaje en el contexto socioartístico de los años 60. La interacción del hombre con su entorno parece ser el punto de partida para una reflexión más profunda sobre el devenir humano. Las nuevas conquistas estéticas alcanzadas y el análisis históricoartístico de los precedentes más inmediatos del filme, sitúan a Deserto Rosso como obra cumbre de la neovanguardia posmoderna europea.

Breit-Pauli R-matrix calculation of fine-structure effective collision strengths for the electron impact excitation of Mg V

Context. Electron-impact excitation collision strengths are required for the analysis and interpretation of stellar observations.r/>Aims. This calculation aims to provide effective collision strengths for the Mg V ion for a larger number of transitions and for a greater temperature range than previously available, using collision strength data that include contributions from resonances.r/>Methods. A 19-state Breit-Pauli R-matrix calculation was performed. The target states are represented by configuration interaction wavefunctions and consist of the 19 lowest LS states, having configurations 2s22p4, 2s2p5, 2p6, 2s22p33s, and 2s22p33p. These target states give rise to 37 fine-structure levels and 666 possible transitions. The effective collision strengths were calculated by averaging the electron collision strengths over a Maxwellian distribution of electron velocities.r/>Results. The non-zero effective collision strengths for transitions between the fine-structure levels are given for electron temperatures in the range = 3.0 - 7.0. Data for transitions among the 5 fine-structure levels arising from the 2s22p4 ground state configurations, seen in the UV range, are discussed in the paper, along with transitions in the EUV range – transitions from the ground state 3P levels to 2s2p5?3P levels. The 2s22p4?1D–2s2p5?1P transition is also noted. Data for the remaining transitions are available at the CDS.

Forma y transgresión: el discurso del arte

El arte, en sus diferentes campos, desarrolla un tipo de discurso que nada tiene que ver con el de otros ámbitos. Se vale de combinaciones de elementos diversos, normalmente pertenecientes a lenguajes convencionales, para elaborar un enunciado único y nuevo, donde una idea encuentra finalmente su forma. El contenido y la estructura se fusionan en un punto indisoluble. En este artículo se plantean las búsquedas de paradigmas clásicos de la forma artística y una reflexión al respecto desde el ámbito de las Artes Visuales. Se parte de la consideración que durante muchos siglos se tenía de la representación o imitación de la realidad no solo como vehículo de la expresión sino como la finalidad del arte. Se continua por el foco que la Transgresión de Dadá estableció en aquellas formas artísticas que buscan una conmoción emocional para que la creación alcance los territorios íntimos del receptor. Por último, se explica el fundamental hallazgo de Duchamp de señalar que es el propio discurso de la obra el que proporciona un nuevo pensamiento al mundo.

Death Aesthetization in Contemporary Artistic Practices

Starting from the famous and enigmatic quotation of the Aristotle’s Poetics, who argues that the human has a natural desire and pleasure to see corpses if mediated by art, is intended to show the relationship between the attraction for the horror and some contemporary art practices surrounding the depiction of death, particularly with regard to the ultimate use of the human corpse as an artistic resource. Avoiding any kind of ethical approach or questioning of the limits of the artistic production, is meant to highlight the phenomenon through the examples brought out by the work of some contemporary artists such as Andy Warhol, Eric Fischl, Damien Hirst, Von Hagens, Andres Serrano, Joel-Peter Witkin and Teresa Margolles: From those who use the corpse in and turn it in something aesthetically pleasant, to others who turn human corpses in sculptures of scientific value, and further other kind of artists who assume the morbid and dramatic life of the corpse in their art production as something structural.