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In this article we explore the notion of Space in José Luis Pardo’s aesthetics. With this purpose we depart from two of his main books where he explains this concept: Sobre los espacios. Pintar, escribir, pensar and Las formas de la exterioridad. In his work we understand the rethinking of aesthetics’ subject from beauty to sensibility. He answers of how we become sensitive beings by means of habit. His approach is non-subjective or pre-subjective, in terms of his attention to the world itself before subjectivity. The world becomes and expresses itself (even aesthetically). After this, we articulate the notion of space with Pardo’s conception of the city. The main thesis we propose is that the notion of space is crucial to think the redefinition of aesthetics’ subject, to no longer study beauty but to study sensitivity, departing from a non-anthropocentric perspective in order to explain how individuals become through habits, and afterwards they shape their own environment into an inhabitable territory. [ABSTRACT FROM AUTHOR]

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Temporal focus is the attention individuals devote to thinking about the past, present, and future. The goal of this study was to validate the Temporal Focus Scale for Argentina and analyze its psychometric properties. Two studies were carried out. Firstly, the factor structure, internal consistency, reliability, and external validity were tested (n=190). To assess external validity, the ZTPI, the self-control scale and the psychological distress scale K-10 were used. Among the main results, the parallel analysis suggested the structure of three factors that explained 72% of the total variance (KMO=.80; χ 2 (66)=1261.7; p<.001) and the semi-confirmatory factor analysis yielded measures proper setting (CFI=.97, RMSEA=.05). Reliability was tested using McDonald's omega and Cronbach's alpha coefficients (values from .81 to .89). The correlations showed that past focus is related to ZTPI negative past and K-10 (r=.58 and .46; p<.01); present focus with ZTPI fatalistic present, K-10 and self-control (r =-. 20, -.23 and .22; p<.01); and future focus with K-10 and ZTPI future (r = .21 and .22; p<.01). In the second study (n=660) a confirmatory factor analysis was performed with the three-factor structure, although there were problems with item 10. After removing item 10, the model with eleven items showed an acceptable fit (χ2 /gl =4.27, CFI=.95, GFI=.95, NNFI=.94, RMSEA=.07). The internal consistency coefficients were higher than 0.76. In conclusion, this study provides an acceptable Argentinian version of the Temporal Focus Scale. [ABSTRACT FROM AUTHOR]

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En este artículo, se buscará elucidar la relación que tiene el tiempo como número del movimiento tanto según el antes como el después, y el intelecto como agente de numeración. El objetivo fundamental es dar una nueva interpretación al controvertido pasaje del capítulo 14, Libro IV de la “Física”, que establece la relación entre el alma y la existencia del tiempo. Para esto, se introducirá la concepción divina del intelecto, buscando sugerir consecuencias que pueden ser cruciales a la hora de considerar el tiempo y su relación con el alma divina que está siempre en acto. El objetivo entonces será justificar que de la misma manera en que Dios es condición de posibilidad de la captación de los primeros principios e inteligibles (como menciona en el “DA”), así también lo es del tiempo en tanto fuente de la numerabilidad en general, o lo que se llamará tiempo “potencial”. La estructura del artículo consiste en una breve presentación de la concepción aristotélica del tiempo, para luego tematizar la noción del intelecto como agente encargado del proceso de numeración que constituye al tiempo, junto con la sugerencia interpretativa que identifica al intelecto agente con el Dios aristotélico. Finalmente, se problematizará la relación entre tiempo y alma para, junto con los antecedentes expuestos, explorar una interpretación sobre el modo de considerar la existencia del tiempo y el lugar que ocupa el intelecto agente como condición de posibilidad para su existencia efectiva.

Reseña a: Eugenia Allier Montaño, César Iván Vilchis Ortega y Camilo Vicente Ovalle (coords.), En la cresta de la ola: debates y definiciones en torno a la historia del tiempo presente

En este escrito se analiza la noción de “momento” en la obra Estructura dinámica de la realidad de Xavier Zubiri. El objetivo es conceptualizar dicha noción, el momento, independiente de la intelección humana para señalar tres argumentos implícitos y previos a la conceptualización del tiempo de Zubiri. Los tres argumentos obedecen a la tematización del momento y la causalidad, el momento en el espacio y el tiempo, y el momento en tanto conjunto. Estos tres argumentos pueden ser usados como hipótesis en futuros trabajos.

Este artículo examina varias posibilidades de implementación de la espera en los videojuegos. Comienza identificando cómo el deseo de suprimir tiempos muertos es un principio técnico general en la creación de experiencias videolúdicas. Esta premisa de diseño viene motivada por la naturaleza de los videojuegos como productos de software, y genera lo que John Sharp y David Thomas denominan una «estética de la elección significativa» que enfatiza la capacidad de acción del jugador frente a la inactividad. En estas coordenadas, el acto de espera aparece como un defecto estético o una situación indeseable y va asociado a un uso correctivo, como sucede con las penalizaciones al jugador cuando comete un error mediante una cuenta atrás. Frente a esta estética punitiva de la espera, se revisará el papel que juega la necesidad de aguardar a que algo suceda en los videojuegos. Siguiendo la teoría de Víctor Navarro Remesal, se diferenciará entre: 1) modos de la espera que son periféricos o externos a los componentes centrales del gameplay y 2) aquellos que forman parte del sistema central. Dentro de las mecánicas nucleares del videojuego, se hará una distinción entre un uso puntual, por un lado, e intensivo, por otro, de los tiempos muertos. Los principales casos de estudio serán Dark Souls (From Software 2011), The Sims (Maxis 2000), The Legend of Zelda: Majora’s Mask (Nintendo EAD 2000) y The Longing (Studio Seufd 2020); también se mencionarán otros títulos como apoyo secundario. En estos casos, los periodos de espera alternan con episodios de alta actividad que demandan una mayor atención del jugador, articulando una necesidad de esperar que, lejos de ser superflua o accesoria para el gameplay, determina la experiencia en su conjunto.

RESUMEN Entre las numerosas controversias que suele estimular el pensamiento sociológico de Niklas Luhmann, destaca la diversidad de interpretaciones sobre el principio de la des-ontologización radical de la semántica tradicional vétero-europea. Dada la vigencia del debate, el presente trabajo identifica un conjunto de elementos ontológicos en su teoría y sostiene que, lejos de invalidarla, son fundamentales para afrontar los problemas que plantea. Puntualmente, examina su conceptualización de la ontología, la complejidad, los sistemas, los sistemas complejos, el tiempo y la realidad como condición de posibilidad de la ciencia.

En «Vals del aniversario», de Compañeros de viaje, se armonizan unos conceptos esenciales: amor, tiempo, romanticismo, cotidianidad y baile. Los cinco se relacionan en el artículo a fin de ofrecer una lectura original del poema, para lo cual se incide en las restricciones que afectan a los períodos textuales orientados a construir un romanticismo pleno, matizado a través de elementos cotidianos extraídos de la vida de los dos ficticios amantes que encarnan la experiencia del poema. Resulta así un romanticismo cotidiano que progresa en una dinámica musical otorgada por el vals, modalidad de baile que cumple con fines poéticos específicos que también cabrá dilucidar.

La lactancia simultánea, posibilita una reducción en el número de tomas casi a la mitad. Es una manera muy buena para optimizar el tiempo.

La llegada de las plataformas de streaming ha marcado un punto de quiebre en los mecanismos de consumo del cine, principalmente porque el factor tiempo-espacio se flexibiliza infinitamente. Se “customiza”. Sin embargo, la relación ya no de la obra de arte ni del cine, sino de los sujetos con su propio espacio, también se ha deformado, o al menos su percepción de él. Por lo tanto, es probable que este cisma sea natural a los procesos creativos y su recepción por parte de los espectadores mediados por los dispositivos tecnológicos. El presente trabajo pretende descifrar el nuevo lugar que ocupan el tiempo y el espacio en la relación entre el cine y su público, así como la presencia del aura en esta transacción. Para ello, se hará una breve revisión del sujeto espectador frente a las prácticas cinematográficas y se analizarán los códigos que permiten, o no, superar los límites del aquí y el ahora sugeridos por Walter Benjamin en su texto “La obra de arte en su época de reproductibilidad técnica”.

Aquarel·la sobre paper, 2020

Traducción de la obra original Alltagsbewußtsein von Zeit de Rammstedt Otthein (1975), publicada en Kölner Zeitschrift für Soziologie und Sozialpsychologie vol. 27(1), pp. 47-63. Traducida por Andrés Soto y revisada por Lionel Lewkow.

An analysis of the design plans and construction of the Galician Centre of Contemporary Art and its surroundings reveals Álvaro Siza's approach to architecture. In studying this magnum opus, we perceive how form emerges essentially as a consequence of a poetic encounter that fuses practical aspects and mental dimensions, knowledge and desire, thought and feeling. Siza is drawn to the representational tool of topology, intrinsically related not to restricted sensory perceptions, but to a way of looking at the world through the lens of totalities, in which reality is understood as a living whole where every element is interconnected in a way that is crucial in shaping the whole and its constituent parts. This way of seeing and feeling gives rise to a concept of space that is neither extensive nor geometric, but rather based on a perceptual process of complex configurations. [ABSTRACT FROM AUTHOR]

This article seeks to discuss the temporal dimension of social conflicts through the lens of the deliberative approach to democracy. In this sense, it seeks to fill a gap in this approach, challenging an implicit premise in several studies, namely that more time for discussion implies democratic inclusion. In dialogue with the concepts of slow violence, durational time, and event, we seek to discuss how overlapping temporalities, attempts to control the pace of political processes by the actors involved, and the duration of these processes impact both the presence and positioning of these actors and the configuration of public debates. Using an interpretative methodological approach, we discuss these issues based on two cases of environmental conflicts over mining in the state of Minas Gerais in recent decades, in the region of Serra do Gandarela and in the municipality of Brumadinho. [ABSTRACT FROM AUTHOR]

The article analyzes critically the more usual conclusions about the history of leisure, a subject that articulates itself with the political economy and the history of contemporary capitalism. Through an extensive review, the article questions the widely disseminated idea that 19th century England would have been the time and place for an acute and unprecedented transformation in the ways to organize social times and to structure recreations. Despite the changes that were taking place in those instances in that context, the article argues that old recreations persisted and that transformations in this sphere were slow and gradual, in addition to being socially and regionally concentrated. Besides, analogous transformations were also registered, at the same time, outside England. The emphasis on the supposed English singularity, therefore, besides being debatable and inadequate, given that it depended on events unfolded elsewhere, is the product of a nationalist and ethnocentric bias. [ABSTRACT FROM AUTHOR]

From the ethnography on the geography of La Mesa del Nayar, Nayarit, some deities of particular relevance and the annual ritual cycle, a reading is made of the understanding of the cora body and the way in which, through experience ritual, serves as a nodal point for the construction of time, space and person, as well as the interrelation between all of it. Likewise, and based on the constant "putting into the abyss" of the coras, the location of the body of the skull of the god Nayar is proposed, the same one that, together with another important deity, inhabits the center of the community. The drawing of both bodies appears, then, as a reproduction of the quincunx that organizes the diurnal world of the coras. [ABSTRACT FROM AUTHOR]

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The objective was to address the theme of time, related to the field of dreams in the poem "I always dream reality" by Jaime Labastida, contained in the collection of poems Obsesiones con un tema Obligado (1975). It was based on the author's own ideas, but also on Bachelard's phenomenology, as well as on Campbell, Jung, Heraclitus, among others. The research was typified descriptive with documentary design. It is concluded that both time and sleep are found in many of the author's poems; these are explored to carry out an interpretation exercise to understand the symbolic load of the poem. [ABSTRACT FROM AUTHOR]

Time and space are of foremost importance in the dramatic economy of medieval epic poems because they serve the important function of situating the reader spatially and chronologically. In the Cantar de Mio Cid, the poet places particular emphasis on the theme of time, enumerating the years, months, weeks, and days for his reader to present his narrative as a verisimilar, if not historic, chronicle. This study seeks to interrogate the time that elapses from the beginning of the poem to the end, arguing that the poet's penchant for relative chronological precision betrays an effort to convey his story as historical fact. His ability to weave fiction and reality has greatly contributed to the Cantar's timelessness, one that renders it relevant even in our modern society. The representation of time helps create the illusion of realism, helping to humanize Rodrigo Díaz and heightening the dramatic impact of the poem. [ABSTRACT FROM AUTHOR]

The theme of transience admits a wide range of meanings involving psychoanalysis from various perspectives. This article tackles the challenges and anxieties involved in living and working during the Covid-19 pandemic. It considers the notion of time "out of joint" and living with uncertainty, both implied in a different notion of time in psychoanalysis as characterized by rupture in continuities. The paper focuses on the impact of these facts on the processes of subjectivation. Themes of migration and refugees and the issue of climate change in times of uncertainty such as the present are also discussed. Interwoven are reflections on war conflicts, highlighting the ideas of Hanna Segal, who pleaded for peace and against the use of nuclear weapons. [ABSTRACT FROM AUTHOR]

This text proposes a reflection that starts with the freudian understanding of transience and expands to include references from contemporary philosophical anthropology. From the thinking of Martin Buber, it borrows the notion of "cosmic mansion" and the experience of the storm to present the postulates precipitated by the human being in a crisis about itself. [ABSTRACT FROM AUTHOR]

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Este artículo analiza el tratamiento dado por Briceida Cuevas Cob al sol y la luna como marcadores temporales en la vida cotidiana y personajes antropomorfizados en el aspecto mitológico. Para ello, primero se realiza un preámbulo sobre literatura indígena y maya peninsular. En seguida, se hará una discusión sobre el tiempo y la teoría-praxis de la territorialidad indígena, que conduce a una reflexión sobre la memoria. Luego, en la poesía de Cuevas Cob, se tratará del camino de los dos astros celestiales, del paso del tiempo y de la constitución de la memoria de la vida cotidiana. Se recurrirá al Popol Vuh para comprender la existencia del sol y la luna actuales como principio cosmológico maya. Además, en el trabajo de Cuevas Cob se verá cómo esos astros adquieren características distintas en términos de cuerpo y agencia humana. Finalmente, haremos algunas consideraciones finales sobre la memoria espaciotemporal en la poesía de Cuevas Cob.

El artículo analiza la memoria relacionada con el tiempo y la historia desde la narrativa contemporánea. Se parte de obras literarias de autores clave para el argumento, se expone que las ideas de la memoria y el tiempo, articuladas con lo histórico, juegan un papel transcendental para la formación de la vida humana como proyecto. El análisis enlaza los conceptos mencionados y forma una unidad experiencial, que amalgama y da sentido a la materialidad de la vida a través de los personajes literarios y de su generalización como experiencia social e individual humana. Desde la narrativa se presentan estos conceptos como unidad, y son considerados por filósofos, narradores e historiadores. Se argumenta la relación entre tiempos vividos, los que se viven y los que quedan por vivir, y se argumenta finalmente que la memoria es una dimensión individual humana, pero que, en su relación con el tiempo, es vivida como un contínuum: es una unidad temporal entre pasado, presente y futuro.

La novela policíaca se caracteriza, desde sus orígenes, por retratar con pretendido realismo el momento y el lugar en que se inscribe. La nueva novela policíaca, con las series de Alicia Giménez Bartlett y de Lorenzo Silva como principales baluartes, presta especial atención a la ciudad como escenario y a las problemáticas sociales, políticas e históricas que actualmente se viven en España.

In the present work, we analyse the textual references of La Celestina that prove the existence of the magic element in the play and its structural relevance. To achieve this purpose, new references are offered in favour of the hypothesis of Melibea’s falling in love as a consequence of Celestina’s spell. Besides, a comparative analyse between the two lovers and courtly love rhetoric is carried out in order to dismiss the implicit-time hypothesis and to provide a new interpretation of Calisto’s and Melibea’s love.

The study of the temporal consciousness of La Celestina's characters allow us to understand better the ongoing changes of the society at the end of the Middle Ages. At the same time, the analysis of this precise and special historic period provides us certain keys to comprehend the way of thinking and acting of the characters. The proposal of this article is doing an analysis in two directions, apparently conflicting, but complementary: on one hand, time as a factor that constrains the characters' passions so that it moves their actions in an implacable battle against it, and, on the other hand, the creation of an personal and relative consciousness of time according to the personal features of each one of the characters.

The blessings and curses in La Celestina not only have the function of simple stock phrase of courtesy or reproach, respectively. They also affect the time to operate as foreshadowing anticipate events. There are also other premonitory phrases throughout the book. The foreshadowing have to do with the outcome, in particular with the obtaining of the wishes and with the death of the characters: Calisto, Melibea, Celestina and the servants. In the case of Calisto, even there are allusions that described also it way in that goes to die, for example, the words of the old woman: «Digo que me alegro de estas nuevas como los cirujanos de los descalabrados». My purpose in the writing of the present proposed is demonstrate that the appearance continuous of anticipations, through phraseological units, affects in the form in that is perceived the time of the literary work.

In this twenty-one act work of prose dialogues, no indications of time passing –other than those the characters happen to note– occur. However, a strong case can be made for implicit time, unmarked time that passes between the events of the work. In the Tragicomedia de Calisto y Melibea, these unseen bits of time can be reconstructed from non-sequential parts of the dialogue and made to describe the implicit time that lapses. A modern edition might include some stage directions which would add important information for new readers of the work. In fact, almost three weeks of lapsed time can be plotted, in addition to the month in which the authors extended the love affair of the title protagonists.

«Love», «magic» and «time» are integral topics in La Celestina thanks to, above all, the masterly alliance established among all three topics in order to bring the ultimate intention of the Tragicomedia to a literary success. Designed, first of all else, as a magnificent and forceful reprobatio amoris, both time and magic are manipulated with a particular skill to increase the effectiveness of the pursued lesson: the former is compressed to the maximum in a couple of represented days, while it is tacitily lengthened without deadline, in order to demonstrate the vertiginous haste of loving sin; the latter justifies, precisely, the immediacy of the passionate fall, aggravating the participant's guilt. Thus, a love comedy as conventional as anodyne, ends suddenly, hastened by magic arts, in an admirable tragicomedy.

Celestina faithfully portraits an era when the bells of a public clock —private clocks were rare— ruled the by then fast-paced urban life. The clock and its marking of time provide the backdrop to the action, make the development of the plot agile, and reinforce several central themes. The characters' compulsion to know the time and their difficulties in determining it, as well as the disagreement between their perception of the time passing and the inflexible rhythm of the mechanical clock, contribute to the famous existential malaise in Celestina. The clock, which is never seen but is always present, reinforces also the central themes of the fugacity of time, and the importance of grabbing the opportunity when it knocks.

Not available.

El propósito de este artículo es demostrar que Hegel, al cuestionar la idea de progreso e introducir la noción de Presente Absoluto en su introducción a las Lecciones sobre la Filosofía de la Historia Universal, propone una nueva forma de pensar el tiempo histórico gracias a una concepción de la eternidad entendida como reunión negativa de los momentos del tiempo. Esta concepción hace posible comprender el presente histórico en su apertura y fragilidad, encontrando sus raíces lógicas en el conflicto de la Idea Absoluta consigo misma.

Me interesa examinar de una manera parcial —o quizás demasiado general— y, más aún, desde una perspectiva ficcional, el transcurso de agudos dilemas sociales en un conjunto de novelas chilenas escritas a partir del siglo xix para pensar cómo y en cuánto se han modificado los pactos, los lugares, la configuración de las élites y los poderes políticos en el siglo xxi. En realidad, la pregunta que me moviliza es en torno al tiempo y su capacidad de renovación social. O si acaso los tiempos, en los tiempos, mantienen intactas las mismas estructuras de dominación, estructuras que transcurren solapadas, envueltas en nuevos parámetros discursivos.

El propósito de este artículo es realizar una reflexión acerca de la filmografía del director británico Christopher Nolan, poniendo especial interés en los conceptos de tiempo, identidad y fragmentación. En estas páginas se procurará poner de manifiesto la profundidad narrativa de su obra, destacando cómo se manifiestan los mencionados conceptos tanto en sus obras originales -Memento (2000), Origen (2010), Interstellar (2014), Dunkerque (2017) y Tenet (2020)-, como en adaptaciones y remakes de las obras de otros autores - Insomnio (2002), Batman Begins (2005), El truco final (2006), El caballero oscuro (2008), y El caballero oscuro, la leyenda renace (2012). Quedan fuera de este análisis sus primeros cortos y la cinta amateur Following (1998), por considerarse obras menores, aunque se matizará que incluso en estos primeros trabajos pueden intuirse las inquietudes que el director tratará de manera recurrente a lo largo de su carrera.

En este trabajo proponemos una interpretación de la crítica de anticipación de Pierre Bayard con el objetivo de indagar en el aspecto temporal de la experiencia de la lectura en el marco de una teoría de la lectura. Para ello, analizaremos el discurso psicoanalítico desplegado por el crítico francés que conduce a nociones como la de libro-interior. Esto nos llevará a una comparación con otros modos de pensar la temporalidad en la lectura como los de Michel Picard y Harold Bloom. Finalmente, este artículo propondrá la noción de sesión de lectura de acuerdo a un modelo de tres tiempos lógicos.