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La tradición oral que definía la cultura humana fue transformada con la invención de la escritura y fundó la tradición escribal que, potenciada por la invención de la imprenta hace cinco siglos, dio origen a la concepción ilustrada de la educación que sigue rigiendo en nuestros días. Pero el advenimiento de los medios digitales y el mundo virtual causa una nueva crisis que empieza a subvertir la tradición escribal y el concepto de educación del que somos herederos. Se hacen imperativos un nuevo paradigma y una reconcepción de nuestros criterios en la educación. En este breve artículo, describimos el proyecto de innovación docente “Rizoma filosófico”, con el que se pretende reflexionar de manera práctica al mismo tiempo que teórica sobre esta crisis en un curso de Filosofía Contemporánea.
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“The Subtle Body of Language and the Lost Sense of Philosophy”. This paper develops the ideas that underlie Wittgenstein’s philosophical work, at least since the Philosophical Investigations, of language as something animal and words as mainly expressive. I begin by arguing that, for Wittgenstein, philosophical problems are finally the result of a disconnection from the sensible dimension, whence our words derive their sense. It is suggested that Wittgenstein’s aim is to exemplify, and hence to propitiate in his texts a different relationship with words than that which determines conventional philosophical thinking. He thus rehabilitates for philosophy modes of knowing and of consciousness that are radically opposed to the kind of scientific knowledge with which it is still identified.
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Paying special attention to his reflections on a esthetics, it is held in this paper that the later Wittgenstein, far from rejecting the"transcendent" from his philosophical discourse as he is usually read, aims rather at recovering it and giving it a new meaning. He thus responds to a real need in the philosophical thought that continues to define itself, even in this century, in terms of criteria of knowledge that are alíen to it. Specifically, it is argued that the Wittgensteinian recourse to the invention of "intermediatec ases" and fictional "natural histories" achieves this goal by activating other modes of awareness that relocate the transcendent within philosophical thinking without appealing neither to the supernatural realm nor to a mystical knowledge or insight.
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Este artículo desarrolla la idea que subyace a la obra filosófica de Wittgenstein, por lo menos desde las Investigaciones, del lenguaje "como algo animal” y de nuestras palabras como principalmente expresivas. A partir de esta idea, se propone empezar a mostrar cómo los problemas filosóficos son para él, en última instancia, producto de una desconexión de la dimensión sensible de la cual derivan su sentido nuestras palabras. Se sugiere que el propósito de Wittgenstein es, por lo tanto, propiciar una reconexión del lenguaje con el deseo, lo cual lleva a cabo ejemplificando en sus textos –y así obligándonos como lectores a asumir– una relación distinta con las palabras de aquella que define el pensamiento filosófico convencional. De esta manera, reivindica para la reflexión filosófica modos de saber y de conciencia radicalmente opuestos al tipo de conocimiento cientí...
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Prestándole especial atención a sus reflexiones en torno a la estética, en este artículo se sostiene que Wittgenstein, en su última obra, lejos de rechazar la cuestión de lo trascendente de su discurso filosófico como usualmente se lo lee, intenta más bien recuperar y darle un nuevo sentido a esa problemática, respondiendo así a una necesidad real de la filosofía que se sigue definiendo, aún en nuestro siglo, por criterios de conocimiento que no le pertenecen. En particular, se arguye que el recurso wittgensteiniano a la invención de casos intermedios e historias naturales ficticias logra este objetivo al activar mediante su introducción de la imaginación modos diferentes de conciencia, que permiten reubicar lo trascendente en el pensar filosófico sin necesidad de recurrir a un ámbito sobrenatural ni a un conocimiento místico.
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“The Subtle Body of Language and the Lost Sense of Philosophy”. This paper develops the ideas that underlie Wittgenstein’s philosophical work, at least since the Philosophical Investigations, of language as something animal and words as mainly expressive. I begin by arguing that, for Wittgenstein, philosophical problems are finally the result of a disconnection from the sensible dimension, whence our words derive their sense. It is suggested that Wittgenstein’s aim is to exemplify, and hence to propitiate in his texts a different relationship with words than that which determines conventional philosophical thinking. He thus rehabilitates for philosophy modes of knowing and of consciousness that are radically opposed to the kind of scientific knowledge with which it is still identified.
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Paying special attention to his reflections on a esthetics, it is held in this paper that the later Wittgenstein, far from rejecting the"transcendent" from his philosophical discourse as he is usually read, aims rather at recovering it and giving it a new meaning. He thus responds to a real need in the philosophical thought that continues to define itself, even in this century, in terms of criteria of knowledge that are alíen to it. Specifically, it is argued that the Wittgensteinian recourse to the invention of "intermediatec ases" and fictional "natural histories" achieves this goal by activating other modes of awareness that relocate the transcendent within philosophical thinking without appealing neither to the supernatural realm nor to a mystical knowledge or insight.
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“Wittgenstein’s Ghosts. Between Deleuze and Derrida”. Both Derrida and Deleuze agree that with the advent of the moving image and the art of film, we need to articulate a new ontology or –in Wittgenstein’s terms–, a new grammar. Derrida suggests this much when he reflects on what he calls the return of ghosts, which he attributes to the advent of film and the communications media; Deleuze does the same in his studies of film, and in particular in what he calls the time-image. They both carve a grammatical space where room is opened for us to talk about an experience that fuses, paradoxically, problematically, the real and the virtual. Wittgenstein is tracing this grammar in his discussions on inner experience and in his observations about the phenomenon of aspect-seeing. Articulating a new grammar requires also a new way of seeing and this new seeing is the purpose of his met...
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