Juan Manuel Garrido

Detectors are remarkable tools. We design and use them not to do things with them but to make things do something, namely, to appear. Detectors make things cause their manifestation. Things’ manifestation depends on how these tools materialize their physical and mathematical properties, the operations they carry out, and the specific circumstances of their application. Rather than fading away during use like tools in daily life, detectors must maintain their objective presence throughout the observation process, actively structuring both phenomena and our ability to experience them. The present essay explores how detection technologies engineer our perception and make things come to the fore.

We explore Derrida's theory of writing in connection with issues in the philosophy of logic and mathematics. In the first part of this essay, we show how Derrida's notion of ‘context’, understood as a differential system of marks that enable the inscription, identification and differentiation of meaning, accounts for the construction and verification of truth-valued propositions. Propositional truth-valued meaning always refers to some normative given context specifying its appearing, construction, functioning, and verification rules. Intentional consciousness does not produce these contextual rules; quite the opposite, consciousness must first follow them to constitute propositional truth-valued meaning as an intentional object. In the second part of this essay, we apply the notion of context to an analysis of the intuitionist theory of evident judgements and the intuitionist attempt to rehabilitate the ‘knowing subject’ as verifying power. Our analysis of the intuitionist theory of propositional meaning will confirm the central tenet of Derrida's theory of writing. The ‘originary act’ of the ‘knowing subject’ is secondary to the contextual construction and verification of propositional truth-valued meaning.

Mediante la construcción de un dispositivo estético-sonoro que reproduce, en espacios públicos, los primeros llantos de recién nacidos, la obra Música (Todo lo que sé lo aprendí el día que nació mi hijo) de Alfredo Jaar pone a las audiencias y a la comunidad ante una vivencia íntima, institucionalmente privada, que irrumpe en el espacio social y cultural compartido. Postulamos que el análisis de esta obra permite reflexionar sobre uno de los temas éticos y políticos más discutidos en la actualidad: el cuidado como disposición ética humana. Dado que la ética del cuidado implica la interrupción de la idea tradicional del valor en tanto basado en principios universales, esta obra de Jaar, especialmente en su dimensión propiamente estética, sugiere una problematización de este orden tradicional. Contra el enfoque de algunas posturas filosóficas que entienden al cuidado como una disposición ética intersubjetiva que no antepone necesariamente una estructura de obligación, en este artículo nos proponemos mostrar que Música ofrece insumos relevantes para problematizar y conceptualizar el “cuidado” como una obligación ética que tiene un impacto directo en el ordenamiento social, institucional y político de las comunidades humanas.

En este ensayo se examina de manera crítica el desarrollo de la filosofía analítica y, en particular, de la filosofía analítica latinoamericana. Se propone que esta última adopte un giro político y uno pedagógico con el fin de recuperar su espíritu original y reconectarse con la tradición intelectual latinoamericana. This essay is a critical examination of the development of analytic philosophy and, in particular, of Latin American analytic philosophy. It is argued that the latter ought to adopt a political and pedagogical turn in order to recover its original spirit and to be reconnected to Latin American intelectual tradition