La metáfora de la confrontación y los argumentadores razonables

Las discusiones argumentativas comúnmente se describen en términos confrontativos, pero no está claro que la argumentación sea necesariamente confrontativa. Aquí argumento que la confrontación no es un elemento esencial de la argumentación y de hecho debe evitarse porque desalienta el comportamiento razonable. La razonabilidad, caracterizada aquí como una disposición a modificar las creencias propias ante buenos argumentos, es puesta en peligro por las metas confrontativas. Eso nos da una razón para rechazar la confrontación en la argumentación, pues la razonabilidad contribuye a algunos de los mayores bienes que la argumentación puede producir.

Experimentos de soborno desde la perspectiva de su validación de constructo

El artículo desarrolla un desafío a la validez de constructo de los experimentos de soborno consistente en que las motivaciones sociales no supervienen meramente de las características intrínsecas de los individuos, sino que dependen de factores contextuales, particularmente normativos, que otorgan contenido a dichas motivaciones. El déficit teórico que presenta el constructo de soborno se evidencia en una incompleta teorización de dicha dimensión normativa en la operacionalización del constructo de soborno, lo que se traduce en la falta de inclusión de operaciones que representen dicha dimensión a nivel concreto de la parametrización y la búsqueda de correlatos empíricos.

Integrating Inferentialism about Physical Theories and Representations: a Case for Phase Space Diagrams

This paper argues for an integrated inferential conception about theories and representations and its role in accounting for the theoretical value of philosophically disregarded representational practices, such as the systematic use of phase space diagrams within the theoretical context of statistical mechanics. This proposal would rely on both inferentialism about scientific representations (Suárez 2004) and inferentialism about particular physical theories (Wallace 2017). I defend that both perspectives somehow converge into an integrated inferentialism by means of the thesis of theories as being composed of representations, as defended from the representational semantic conception defended by Suárez and Pero (2019).

Love, Reasons, and Replaceability

Lovers typically entertain two sorts of thoughts about their beloveds. On the one hand, they think that the qualities of their beloveds provide reasons for loving them. On the other, they regard their beloveds as irreplaceable. Yet it may be asked how these two sorts of thoughts can coherently coexist. If Romeo loves Juliet in virtue of her qualities, shouldn’t another maiden with the same qualities be equally lovable for him? This paper draws some distinctions that are crucial to the understanding of reasons for love. Its aim is to show that, even though the claim that beloveds are irreplaceable is plausible to some extent, there is a sense in which beloveds are replaceable.

Arte culinario y creación poética en Sor Juana Inés de la Cruz

En el presente artículo, exploramos las conexiones que existen entre el arte culinario y la obra poética de Sor Juana Inés de la Cruz. En particular, usamos un estudio detallado de las analogías que emergen entre la comida y la preparación culinaria por un lado, y la poesía y la composición poética, por otro lado. En este artículo mostramos que el arte culinario funciona como causa o catalizador de la creación poética y que existe una relación íntima y profunda entre el buen sazón, lo bello, y el bien para la monja jerónima.

Food, Art and Philosophy

Food, Art and Philosophy

Can Food Be Art in Virtue of Its Savour Alone?

Food has savour: a collection of properties (including appearance, aroma, mouth-feel) connected with the pleasure (or displeasure) of eating. This paper argues that savour is aesthetically evaluable —it is not merely “agreeable”. Further, like paradigm examples of art, savour can be assessed by how it references, or “exemplifies”, cultural norms. This paper is part of a larger project in which I develop an account of the pleasure of art. It is a virtue of my approach that it permits a much greater diversity of artforms than traditional philosophical aesthetics is inclined to allow. This includes food.

Bittersweet Food

Nostalgia and food are intertwined universals in human experience. All of us have experienced nostalgia centered on food, and all of us have experienced food infused with nostalgia. To explore the links between nostalgia and food, I start with a rough taxonomy of nostalgic foods, and illustrate it with examples. I argue that there is a psychological commonality to experiencing nostalgic foods: imagination. On my account, imagination is the key to understanding the cognitive, conative, affective, and perceptual aspects of experiencing nostalgic foods. In turn, the recognition of imagination’s centrality in experiencing nostalgic foods reveals how food can produce aesthetic experiences comparable to those produced by literature and painting.

Meals, Art and Meaning

This paper takes meals, rather than food itself, as its focus. Meals incorporate the project of nutrition into human life, but it is a contingent matter that we nourish ourselves in this way. This paper defends the importance of meals as meaning-makers and contrasts them with art in that regard. Meals and art represent interestingly different extremes with respect to how needs for meaning are met. Artworks ask for coordination of experience, understanding and appreciation: the meaning of art is to be experienced. The meaning of meals is enacted and accumulates collectively, but need not be experienced.

Aesthetics of Food Porn

Enticing food photography which stimulates its viewers’ cravings, often given a dismissive label “food porn,” is one of the most popular contents in contemporary digital media. In this paper, I argue that the label disguises different ways in which a viewer can engage with it. In particular, food porn enables us to engage in cross-modal gustatory imaginings of a specific kind and an image’s capacity to afford such imaginings can contribute to its artistic merit.