Diana Acevedo

The problem of time has been present throughout history of philosophy since its beginnings. However to consider what is time is not a matter of technical theorization, conversely, this results interesting in as much as a reflection on the nature of world, and even the human particularities, cannot evade time problem. Aristotle is a stage under obligation in history of philosophy. My main purpose is to understand why time is problematic and what difficulties we have to meet with (chapter one). On the other hand, I'm interested in the way Aristotle give an account of these difficulties in virtue of the relation among movement or change, magnitude and time, as well as the latter character of number (chapters two and three). Finally, is necessary to present some subsequent problems related with the time theory at stake (chapter four).

El pasaje de la Física ha llevado a postular un concepto de tiempo determinado por las condiciones perceptivas de la psyche. Se muestra cómo las condiciones de percepción son un punto de partida en la investigación: lo que es primero y más cercano a los sentidos y más conocido para los seres humanos. El punto de llegada es la conexión necesaria entre la existencia del tiempo y la del cambio. La percepción del cambio de los durmientes de Cerdeña permite determinar los elementos que componen la experiencia del tiempo y proceder a determinar aquellos que componen la existencia de este. Passage 218b21-219a of Aristotle's Physics has led to the formulation of a concept of time that is determined by the perceptual conditions of the psyche. The paper shows that the conditions for perception, that which is prior, closer to the senses, and better known by human beings, are just the starting point for the investigation. The point of arrival is the necessary connection between the existence of time and change. The perception of change in the case of the sleeping Sardinian heroes makes it possible to determine those elements involved in the experience of time and, subsequently, those that make up the existence of the same.

RESUMO O objetivo deste trabalho é indicar como a exploração estilística de Margaret Cavendish responde às particularidades do conceito de natureza dela, por exemplo, a tese de que a natureza é uma matéria viva, infinita, mutável e heterogênea. Primeiramente, mostrarei o modo pelo qual a autora está presente em seus escritos, como ela escreve de uma perspectiva de primeira pessoa sobre sua própria experiência e de quem ela é. Resumirei brevemente sua biografia e o contexto no qual ela praticou filosofia. Dado que suas escolhas de estilo são bastante numerosas, apresentarei somente algumas poucas, entre as peculiaridades estilísticas dela. Em segundo lugar, desenvolverei uma visão geral do seu conceito de natureza, ao contrário do proposto pelas teorias mecanicistas de seu tempo. Esclarecerei que tal conceito é expresso adequadamente pela diversidade estilística à qual Cavendish se volta em suas investigações. ABSTRACT This paper aims at indicating how Margaret Cavendish's stylistic exploration answer to the particularities of her concept of nature, i.e. the thesis that nature is live, infinite, changing and heterogeneous matter. I will first show the way in which the author is present in her writings, as she writes from a first person perspective about her own experience and from who she is. I will briefly summarise her biography and the context in which she practiced philosophy. Given that her stylistic choices are quite numerous, I will only present a few of her stylistic particularities. Secondly, I will develop the general outline of her concept of nature, as opposed to the one proposed by the mechanistic theories of her time. I will make it clear that said concept is adequately expressed in the stylistic diversity to which Cavendish turns in her investigations.

According to Chandra Mohanty, there is no apolitical academy; academic and scholarly practices are in themselves political, insofar as they are inscribed in power and validation relations, which answer to and have effects upon the patriarchal, colonial, and capitalist structures to which they belong. In the case of philosophical writing, this means that the forms that regulate writing, that is, what determines how one must write in different contexts, are expressive of the power structures within philosophical academia. These power structures are upheld through time because of, among many other factors, the rendering invisible of the diversity of places of enunciation belonging to those who write and think in philosophy, and of the universalization of the privileges associated with said places of enunciation. In this article, I propose a way of writing letters that appeals to grammatical persons and their relation to the authors of the texts. Through this writing practice it is possible to make explicit the places of enunciation from which we write philosophy. This enables, first, making visible the privileges and oppressions of those writing philosophy; and second, generating small spaces of resistance and transformation of the oppressive power relations within the philosophical academy.

We’ll try to have an approach to the relationship between us as men and nothing more (απλος) and the story of Prometheus in Greek Mythology. For this we’ll make an examination of some elements, figures and images which could makes possible the said relationship that we’ll comprehend initially like certain closeness. We’ll considerate first the common and particular aspects of the primary sources wining so a general view. Then we’ll attempt interpret specifics parts and themes; we’ll come across our experience of the body and pain relative to the possibility of communication with the others about it, based in the myth.

En este texto exploraré la idea de que la práctica de la danza puede ser un método de investigación en filosofía. Propongo que no solo es posible hacer filosofía en movimiento, sino que además esta aproximación cinética al pensamiento permite poner en cuestión y transformar sesgos y paradigmas patriarcales y coloniales que han predominado en la historia de la filosofía. La danza nos permite experimentar nuestros cuerpos a través de, en y por el movimiento, en lugar de meramente hablar y referirnos al cuerpo como un objeto (como cualquier otro objeto) y de conceptualizar sus propiedades generales. Mi tesis es que un cuerpo que piensa es un cuerpo en movimiento, de manera que, si queremos filosofar como una forma de rechazar los dualismos y privilegios arbitrarios, la danza es una forma interesante de hacerlo. Analizaré el concepto de lo viviente de Gilbert Simondon, a partir de una difracción basada en la experiencia de participar en un taller de danza de Marie Bardet, para mostrar que cuando la temporalidad y la topología de lo viviente se aclaran en la experiencia, es posible constatar las potencias de pensamiento de los cuerpos múltiples, ya no está en cuestión un cuerpo abstracto, sino un cuerpo vivido, feminizado, marcado por historias singulares.

Aristotle's Physics 218b21-219a has been interpreted as proof that the concept of time is determined by the perceptive (or perceptual) conditions of the mind (psyche). In this paper I will criticize such an interpretation in order to argue that the mind's conditions for the perception and experience of time are just a starting point for the investigation: what is prior and nearer to sense, and better known to man (Anal. Post. I, 2). The arrival point of Aristotle's investigation about the concept of time, it's first nature or what is prior in the order of being, is the necessary connection between the existence of time and change. His description of the sleeping Sardinians allows him to determine the elements involved in the perception of time and, consequently, to determine the elements that make up the existence of time.

This thesis presents three versions of the concept of time found in the works of René Descartes. First, the time of the world, physically considered: a homogeneous and serial time for which the moments are ordered successively, a divisible and one-dimensional time. Second, the time of the mind: the cogitative experience of the present temporally expanding, a purely mental experience, i. e., without the intervention of the body. Third, the time of the compound of mind and body: a concrete time that entails a share world among bodies and compounds acting and suffering reciprocally.