One of the defining features of the classical gene was its position. In molecular genetics, positions are defined instead as nucleotide numbers and there is no clear correspondence with its classical counterpart. However, the classical gene position did not simply disappear with the development of the molecular approach, but survived in the lab associated to different genetic practices. The survival of classical gene position would illustrate Waters’ view about the practical persistence of the genetic approach beyond reductionism and anti-reductionist claims. (...) We show instead that at the level of laboratory practices there are also reductive processes, operating through the rise and fall of different techniques. Molecular markers made the concept of classical gene position practically dispensable, leading us to rethink whether it had any causal role or was just a mere heuristic. (shrink)

Few elements of Aristotle’s practical philosophy have been more discussed than the so-called “practical syllogism”. But there are also few as suggestive to the commentators as this one. In this article I intend to define what the theory of practical syllogism would consist in, as a separated element within the Aristotelian ethical theory (or, more precise-ly, within his theory of action). It is not properly a demonstration of the existence of such a theory, but rather of the possibility that it (...) can take its place, even a necessary one, into the Stagirite’s general theory of action, in spite of some difficulties that I try to solve. This conclusion is reached through an analysis of the main elements of this theory. (shrink)

El artículo pretende mostrar la razón por la que la curaduría experimental puede ser considerada una práctica artística bajo la mira de teorías del arte contemporáneo. Para ello se presenta una genealogía de la curaduría experimental para, posteriormente, mostrar su semejanza con las produc-ciones artísticas contemporáneas en lo atenido a su relación con el espectador y su vínculo con los contextos sociales extraartísticos.

Ha de diferenciarse entre dos tipos de curaduría, así llamadas “tradicional” y “experimental”. El presente texto tiene como objetivo acercarnos conceptualmente a la curaduría tradicional a través de la figura del curador, así como presentar el lugar en el que esta se inserta en el proceso de conformación y realización del valor artístico de las obras, todo ello desde la postura de la teoría pluridimensional del valor. La curaduría tradicional es aquella ligada a la concepción del museo en su acepción (...) moderna, que tiene como finalidad básica coleccionar, conservar y exhibir, con una narrativa cerrada y ceñida al discurso instituido sobre el arte, en general, y sobre las obras que se exhiben, en particular. (shrink)