In the brain the relations between free neurons and the conditioned ones establish the constraints for the informational neural processes. These constraints reflect the systemenvironment state, i.e. the dynamics of homeocognitive activities. The constraints allow us to define the cost function in the phase space of free neurons so as to trace the trajectories of the possible configurations at minimal cost while respecting the constraints imposed. Since the space of the free states is a manifold or a non orthogonal space, (...) the minimum distance is not a straight line but a geodesic. The minimum condition is expressed by a set of ordinary differential equation ( ODE ) that in general are not linear. In the brain there is not an algorithm or a physical field that regulates the computation, then we must consider an emergent process coming out of the neural collective behavior triggered by synaptic variability. We define the neural computation as the study of the classes of trajectories on a manifold geometry defined under suitable constraints. The cost function supervises pseudo equilibrium thermodynamics effects that manage the computational activities from beginning to end and realizes an optimal control through constraints and geodetics. The task of this work is to establish a connection between the geometry of neural computation and cost functions. To illustrate the essential mathematical aspects we will use as toy model a Network Resistor with Adaptive Memory (Memristors).The information geometry here defined is an analog computation, therefore it does not suffer the limits of the Turing computation and it seems to respond to the demand for a greater biological plausibility. The model of brain optimal control proposed here can be a good foundation for implementing the concept of "intentionality",according to the suggestion of W. Freeman. Indeed, the geodesic in the brain states can produce suitable behavior to realize wanted functions and invariants as neural expressionsof cognitive intentions. (shrink)

Ensayo ganador del Concurso de Ensayo “Hegel y América Latina”, convocado por FILORED con ocasión del III Congreso Germano-Latinoamericano sobre la Filosofía de Hegel, Lima-Cusco, Perú 2022.

En esta obra monumental de Jesper Lützen sobre la mecánica de Heinrich Hertz encontramos una magnífica exposición de la vida y obra de este insigne físico germano. Un interesante relato de las influencias intelectuales que modelaron su pensamiento científico, culmina con un exhaustivo análisis de la reformulación de la mecánica clásica que Hertz planteó poco antes de su prematuro fallecimiento.

Author: Thomas Sören Hoffmann. Translated by Pedro Sepúlveda Zambrano.

The purpose of this article is to examine the objective side of subjectivity formation through music. I attempt to show how music is a way to configure subjectivity in its interiority, but in a way that it can be shared between other individual subjectivities. Music has an objective structure, but this structure is the temporal and sonorous interiority of subjectivity. It has as its objective manifestation and consequence the feelings and emotions. These feelings are subjective, and in the level of (...) subjective Geist they are related to intuition. Hegel believes that such intuition cannot be properly communicated, due to its exclusive access to the individual subject himself. Despite that, music is an art, and it takes part in the level of absolute Geist. That means that music is the connection between the objective and subjective sides of Geist, being a product of social relations, including the sharing, experience and recognition of subjective operations by the participants in society as something in common. Art is related to intuition but it is not intuition itself, nor it is reduced to the capacity of intuition. All three capacities of the subjective Geist in the theoretical Geist (namely intuition, representation and thinking) can be part of the relationship between art and the individual perspective.However, the link between art and intuition is an analogy between the subjective Geist and the absolute Geist, considering that art is a level of manifestation of social self-consciousness where the people and the social group have not yet become conscious of its content in its manifestation. The exposition of the ideal content of social relations is manifested through absolute Geist, beginning with its sensible manifestation. After this process, it is signified through a practice related to representation, and finally it is related to a conceptually and linguistically mediated practice, philosophy. These products cannot be a consequence of a mere subjective connections, but must be (as part of absolute Geist) a consequence of the objective relation between individuals in its subjective manifestations. Furthermore, subjective capacities are a condition without which the development of the absolute Geist is not possible. At the same time, it is not possible that subjective Geist’s capacities can be fully realized without social relations. Science is not a product of an individual-solipsistic relationship with the environment, but a product of a social relations, including language, shared experiences and shared ways of comprehension, such as the common way to feel and receive the environment in a subjective level discussed below. I divide this exposition into three parts: (1) music and subjectivity, where I deal with the relation between body vibration, time, sound and the formal interiority of the listener/musical subject, analyzing the form of music in its subjective side (the relation to the listener); (2) music and content, where I examine the content generated by music as being the process of formation itself (i.e. the process of given form to the interiority of subjectivity through sounds becomes its own content, namely, the feelings); and (3) music and words, where I scrutinize the relationship between music and words’ capacities to make reference and to have content, considering the connection between pure music and lyrics, and between music and poetry as singular forms of art. I conclude with the idea that music has a specific role in Hegel’s system, which is to bring to light and develop absolute Geist’s (understood as the objectivation and formation of a social and cultural subjectivity) internal aesthetic form. (shrink)

El presente escrito ofrece una serie de reflexiones acerca del concepto especulativo del saber. Con este fin, son reconstruidas las doctrinas del ser y del concepto en sus dimensiones sistemáticas. El acto de “decidirse a filosofar” y la noción de totalidad exhibirán, al final del camino, el sentido circular del “discurso del método hegeliano”.

El presente artículo busca responder las siguientes preguntas: ¿Cómo fue que la idea del pensamiento infinito llegó a constituirse en el motivo central de la filosofía de Hegel?, y ¿cuál fue el derrotero que recorrió su pensamiento hasta alcanzar aquella concepción lógico-silogística de la filosofía, según la cual la Idea de esta Ciencia llega a ser la última determinación del Espíritu absoluto, y a su vez, este Espíritu absoluto se convierte en la unidad definitiva de la Ciencia enciclopédica? Una vía (...) plausible para responder a estas interrogantes consiste en poder caracterizar las configuraciones más importantes de aquella concepción de la filosofía, ocurridas al interior de la fase de pensamiento enciclopédico, a partir del seguimiento de sus conceptos culminantes –la Idea y el Espíritu absoluto. (shrink)