Kathleen Stock, Only Imagine: Fiction, Interpretation, and Imagination, Oxford University Press, Oxford 2017, 222 pp. Julie Cheminaud, Les évadés de la médecine. Physiologie de l’art dans la France de la seconde moitié du XIXe siècle, Vrin, Paris 2018, 294 pp. Carla Carmona, Jerrold Levinson, Aesthetics, Literature, and Life: Essays in Honor of Jean-Pierre Cometti, Mimesis International, Milan 2019, 220 pp. Report on “Jean Baudrillard, l’intelligence du temps qui vient”, Centre Culturel International de Cerisy, Cerisy, France, 9-16 August 2019.

Baudrillard interpreta el «nuevo terrorismo» como un intercambio simbólico de regalo y contra-regalo: la muerte del terrorista es un contra-regalo irrefutable que rompe el círculo coercitivo de las relaciones sociales «impuestas» por el sistema global. A su vez, la concepción de Derrida tiene dos dimensiones, explicativa y normativa: en primer lugar, Derrida considera el 11-S como un síntoma multifacético de una crisis autoinmune que tiene aspectos políticos, religiosos y tecno-capitalistas. En segundo lugar, Derrida arguye que existe un «momento» de terror, (...) violencia y sacrificio que es constitutivo en las decisiones y en la responsabilidad éticas. De forma crítica, argumentaré que la concepción de Baudrillard se basa en una noción extremada y partidista de un sistema que se interpreta como un inmenso mandato de un gobernante totalitario. Por su parte, Derrida convierte de forma innecesaria la observación de que las acciones humanas pueden tener consecuencias perversas en una ley de la autoinmumidad inspirada en la biología. Al considerar el terror como algo constitutivo incluso en las relaciones éticas más comunes, Derrida corre también el riesgo de convertir un fenómeno extremado en un concepto que lo abarca todo, y de perder contacto con la práctica ética corriente. Concluiré que las concepciones de Baudrillard y de Derrida sobre el terror y el terrorismo comparten un «gusto por lo extremado» que las hace en última instancia poco convincentes. (shrink)

Simulation technology is increasingly being used in nursing education. Previously used primarily for teaching procedural, instrumental, or critical incident types of skills, simulation is now being applied to training related to more dynamic, complex, and interpersonal human contexts. While high fidelity human patient simulators have significantly increased in authenticity, human responses have greater complexity and are qualitatively different than current technology represents. This paper examines the texture of representation by simulation. Through a tracing of historical and contemporary philosophical perspectives on (...) simulation, the nature and limits of the reality of human health responses represented by high fidelity human patient simulation (HF‐HPS) are explored. Issues concerning nursing education are raised around the nature of reality represented in HF‐HPS. Drawing on Waks, a framework for guiding pedagogical considerations around simulation in nursing education is presented for the ultimate purpose of promoting an educative experience with simulation. (shrink)

Preamble: Singers gathering on stage This is a paper for three voices. An attempt at a philosophic experience in the symphonic form. The first voice carries the tune and holds the shape of the paper as it focuses on Baudrillard and proposes that public education in Canada today is in fact a simulacra. The second voice has more room to roam, tracing some of the Western philosophical underpinnings of Baudrillard’s stages of the simulacra from Aristotle to Saussure’s centralization of human (...) language and out to the disappearance of the signified altogether. And the third voice, plays a parallel tune to the first two but focuses on the evolution of education for sustainable development. Eventually all three voices find harmonies around the challenges of their respective simulacrum and will, as a dramatic conclusion, seek to offer some important educational implications. We have employed, as seen above, different fonts for each voice and divided the paper along symphonic lines with each movement being accompanied by one stage of Baudrillard’s development of the simulacra. We encourage the reader to think of this paper as a philosophical score choosing to read each voice separately or all three together seeking resonances along the way. (shrink)