Papers by Jose Higuera Rubio
Umanistica Digitale, Dec 14, 2023
This article introduces a proposal for an experimental interface design that uses the Internation... more This article introduces a proposal for an experimental interface design that uses the International Image Interoperability Framework (IIIF) to facilitate the exploration of image collections, relying on the relationships created by the scholarly practice of annotation. Within the project "From Data to Wisdom," an innovative digital tool was designed by harnessing IIIF resources and leveraging close and distant reading on three levels of connectivity: micro, meso, and macro. The proposed tool integrates annotation features that enable scholars to analyze individual images as well as interpret broader connections and patterns across image sets. This article outlines the interface's theoretical framework and design principles, highlighting the potential to support interdisciplinary research and advance digital art tools.
Mediaevalia. Textos e Estudos, 2020
In the Dominican Archive San Luis Beltran (Bogotá) there is a manuscript of an unknown cursus phi... more In the Dominican Archive San Luis Beltran (Bogotá) there is a manuscript of an unknown cursus philosophicus signed by the Franciscan master Pedro Ceballos y Tena, dated in 1741, Quito. The last section of this cursus is entitled Articulus utilis de syllogismo falsigrapho. For the first time, we can reconstruct the long transition of the vocabulary and the conception of deceptive arguments called falsigraphi. Pseudo-Scotus showed the fallacies behind this sort of defective argumentation, despite the geometrical origin of this expression. In the Aristotelian texts, falsigraphus was a philosophical character who wrongly "drew" the geometrical principles in order to induce a demonstration about a specific problem (e.g. circle quadrature). However, Pseudo-Scotus preferred to highlight the opposition between the demonstrative syllogisms-and their immediate principles-and the sophistic arguments configured by linguistic ambiguities or fallacies. These types of fallacies appear in the Cursus philosophicus dictatus Limae (1701) under the name of syllogismum pse[u]dographum. The question is how the later readers of Pseudo-Scotus assumed the linguistic perspective on deceptive arguments focused on categorical mistakes, while neglecting the geometrical character of those arguments that involved the use of a "graphical reasoning". The contrast between pse[u]dographum and falsigraphus will show how the linguistic perspective on deceptive arguments was embraced by the later Scholastic. This linguistic emphasis achieves an interesting point, however, in Ceballos y Tena, who recovers the Pseudo-Scotus' view of the term falsigraphus to note the ambiguity of logical terms. The hypothesis of this work is the historical oscillation of deceptive arguments between the linguistic perspective and the graphical reasoning involved in geometrical demonstrations.
Pensamiento del Islam. Homenaje al profesor Miguel Cruz Hernández, eds. P. Mantas, C. Ruiz, F. Toro , 2022
The brief treatise Kitab al-hada’iq by Ibn al-Sīd al-Batalyawsī shows a complex reception of many... more The brief treatise Kitab al-hada’iq by Ibn al-Sīd al-Batalyawsī shows a complex reception of many philosophical sources. On the one hand the encyclopedic work by Ikhwan Al-Safa that gathers the Pythagorean conception of mathematical objects as the perfect analogy of world generation in which human intellect and its faculties develop its knowledge acquisition. On the other hand, the Neoplatonic roots of Proclus Arabus who reinforces the analogy between geometry and metaphysical conception. Asin Palacios in his edition of Ibn al-Sīd’s work, which had a prolific reception among Arab philosophers along the 20th century, points out these complex philosophical elements. This paper rebuilds these sources to propose the hypothesis on the dissemination of Kitab al-hada’iq in the Andalusian thought focused on the usage of graphical speculation.
Revista de lenguas y literaturas catalana, gallega y vasca, 2022
Se muestran los distintos aspectos de la interpretación alegórica que utiliza Ramon Llull para pl... more Se muestran los distintos aspectos de la interpretación alegórica que utiliza Ramon Llull para plasmar un sentido espiritual y moral en los últimos capítulos del Llibre de la contemplació. Por una parte, la reflexión que proviene de los pensadores arabo-judíos del siglo xii, acerca del significado que los términos del lenguaje común pueden aportar a una descripción alegórica y ejemplarizante de las virtudes divinas. Este recurso es combinado por Llull con la enseñanza moral trasmitida por la Psychomachia de Prudencio que representa la lucha virtuosa entre cuerpo y alma. De otro lado, las gestas espirituales de la vulgata artúrica (o materia de Bretaña) aportan dos importantes recursos simbólicos que Llull se apropia: el árbol de la luz y la manzana.
Revista Española de Filosofía Medieval 29/1 , 2022
Following Aristotle, Averroes rejects atomism and the infinite division of geometric lines. Thus,... more Following Aristotle, Averroes rejects atomism and the infinite division of geometric lines. Thus, his arguments dealt with the continuity and contiguity of the non-atomic parts of motion. He vindicates the perceptual aspect of physical movement that shows itself like in-progress-path between two edge points A and B, in which there are middle parts where qualitative, local, or quantitative changes occur. Ramon Llull took the lines’ geometrical points as “motion parts.” Points are intermediate divisions that represent physical phenomena by the continuity of geometrical lines, surfaces, and figures. Also, he appeals to relational logic to spot the middle parts between A and B into the in-progress-path of motion. Those middle parts are signified by a dynamic vocabulary, called: correlative language. This contribution focuses on the conceptual environment of Llull’s assumptions, in which Averroes’ Latin readers explored the geometry and the vocabulary of motion intermediate parts.
Revista da Faculdade de Letras – Série de Filosofia, 2019
The aristotelian opposition between demonstrative and probable arguments is reflected in the medi... more The aristotelian opposition between demonstrative and probable arguments is reflected in the medieval commentaries that distinguish between dialectical syllogisms, used by the art of persuasion, and the demonstrative syllogisms based on necessary principles, whose knowledge is immediate and per se notum. In a manuscript of Ars demonstrativa, attributed to ramon Llull, there is a remark about the usage of probable arguments, although they are based on necessary principles. about that, Llull added that naming this work as «demonstrative» might sound slightly «scandalous». However, Llull seems to attest a dilution of the distinction between probable arguments and demonstrative principles, which is possibly related to the Boethian reading of the Topics. Boethius defines a list of differentiae which are the terms that link, in the syllogisms, a premise with a necessary conclusion or a general principle. The medieval commentators of the De Topicisdifferentiis realized that these dialectical places are also applicable to hypothetical syllogisms, which are compounded by conditional premises. Medieval masters made lists of differentiae that include terms such as: opposition, likeness, relation, superior and inferior, authority and trassumptio (the Latin term for metaphor). ramon Llull shows an indirect reception of the De topicis differentiis of Boethius in the figure T of his Ars, as well as a specific application of the argumentative places in the theological dialogue with other religions. Thus, the evidence of the faith articles, although they are “first principles” and true for themselves, is not accessible to the intellect unless it is proved by probable arguments.
Mediaevalia Textos e Estudos, 2018
The medieval tendency to depict textual and conceptual contents in a schematic way through visual... more The medieval tendency to depict textual and conceptual contents in a schematic way through visual matrices generates different forms of conceptualization and appreciation of the philosophical tradition. This task involves the perceptual activity and the knowledge visualization. In this paper three examples of schematization models will be showed: sciences division, classifications of virtues and vices, and some practical uses of geometry. Those schemes point out the relations of gradation, opposition and division regarding to a specific set of principles, logical or geometrical, that justifies the representative disposition in which visual frameworks introduce a certain conception of knowledge order and its development.
Anales del Seminario de Historia de la Filosofía, 2021
Resumen. La aparición de un tal "Sócrates" en la Declaratio de Ramon Llull sugiere una posible sí... more Resumen. La aparición de un tal "Sócrates" en la Declaratio de Ramon Llull sugiere una posible síntesis luliana de la recepción medieval del filósofo antiguo, reflejada en el comportamiento de este personaje durante el diálogo que contiene esta obra. Sócrates conocido por los medievales como el fundador de la filosofía y la ética fue descrito tanto en obras filosóficas e históricas, como en una larga tradición de sentencias, hechos y anécdotas que provienen de distintas tradiciones como la árabe y vernácula. Además, existen imágenes de un Sócrates dedicado al arte medieval de la trascripción de textos o al ejercicio dialéctico. Estos ejemplos se verán reflejados en la obra luliana y mostrarán el interés de Llull por la filosofía antigua y un ideal de filósofo "cristianizado" por los medievales.
El yo en la epopeya, nuevos espacios de subjetividad en la poesía épica ibérica y latinoamericana del siglo XIX, 2020
Es posible documentar una aetas virgiliana neogranadina en la que se tradujo y se difundió la Ene... more Es posible documentar una aetas virgiliana neogranadina en la que se tradujo y se difundió la Eneida, y el resto de las obras de Virgilio, entre los siglos 17 y 18. La lectura de esta obra, que fue lectura básica en la enseñanza del trivium en los colegios mayores y universidades coloniales americanas, generó la progresiva exaltación de una subjetividad “heróica” forjada a partir de la descripción que hace el poeta latino de la constitución elemental (fuego, agua, tierra y aire) de la naturaleza y de los personajes de la Eneida.
El lulismo de la segunda mitad del siglo xx se caracteriza por asumir que el Arte luliano hace pa... more El lulismo de la segunda mitad del siglo xx se caracteriza por asumir que el Arte luliano hace parte de la historia del desarrollo tecnológico digital. Este supuesto vincula al Ars magna, sin proponérselo, al problema de la identificación entre las operaciones de las máquinas y el discurrir de la mente. Este asunto ha quedado un tanto aislado del entu-siasmo de los lulistas contemporáneos que ven en el Arte una herramienta heurística, un proto-cálculo de relaciones entre elementos simples que podría representar un ancestro de la computación. Se trata de mostrar si es posible que en esta identificación se encuentre un punto de vista «débil» o «fuerte», lo que se muestra a partir de la noción que tenían los medievales de los artificios criptográficos o mnemotécnicos que lejos de sustituir o imitar las operaciones mentales, procuraban servir de instrumentos que aumentaban las capacidades lingüísticas e imaginativas del ser humano.
The Lullism of the 21st Century: Thinking Machine or Super-intelligence? Lullism assumed in the second half of the 20th century that Llull's Art is part of the early history of digital technology. This assumption, inadvertently, links the Ars magna to the question about the relations between the operations of digital machines and mental activities. This issue has been slightly neglected in contemporary Lullism which sees in the Art an ancestor of computation, insofar as it is considered as a sort of heuristic tool that is able to calculate — in a primordial sense — the relationships between simple elements. This paper explores whether it is possible to put forward a " weak " or a " strong " interpretation of mind-machines relations in terms of medieval inventions such as cryptographers or mnemonic arts, which bear similarities with Llull's Art. These artifacts, far from replacing or imitating mind operations, sought to serve as a sort of instruments that increased the linguistic and imaginative human abilities.
La expresión Physicorum sigillum (Física de los signos/de los sellos) es
la forma latina del térm... more La expresión Physicorum sigillum (Física de los signos/de los sellos) es
la forma latina del término semiofísica que Rene Thom acuñó para referirse a la física Aristotélica. Dicho término cuestiona el límite que la historia de la ciencia ha establecido entre la física experimental expresada en lenguaje matemático y la física de las causas representada por el lenguaje de la metafísica aristotélica.Este trabajo intenta elaborar una aproximación al modo en que el lenguaje físico aparece en el pensamiento luliano desde dos puntos de vista: el primero, la representación de los procesos dinámicos en la naturaleza por medio de la noción sigillum; y el segundo, el modo en que los objetos geométricos, puntos, líneas, figuras y superficies, se toman como los componentes últimos de la naturaleza.
En el De amore de Alain de Varènes se observala complejidad de la evolución del lulismo, pues el ... more En el De amore de Alain de Varènes se observala complejidad de la evolución del lulismo, pues el autor se basa en textos de su maestro lulista, Jacques Léfèvre d’Étaples, pero deja de mencionar la fuente original, es decir, Ramon Llull, aunque utilizando su lenguaje y sus ideas.
El sepulcro de Ramon Llull, en la iglesia de San Francisco en Palma de Mallorca, descansa sobre u... more El sepulcro de Ramon Llull, en la iglesia de San Francisco en Palma de Mallorca, descansa sobre unos relieves que representan a las Artes liberales, el trivium y el quadrivium, tal como los describe Jaime Costurer. Ramon Llull se sirvió del modelo de las artes para elaborar su propio Arte, lo que observó Joan Llobet el maestro barcelonés que diseñó el sepulcro a mediados del siglo xv. Este hecho nos invita a investigar los detalles del proceso que llevó a la inspiración luliana del Arte por las artes.
Durante la segunda mitad del siglo pasado han surgido estudios que demuestran la relación entre l... more Durante la segunda mitad del siglo pasado han surgido estudios que demuestran la relación entre la abundancia figurativa de la obra de Bruno con una particular ‘filosofía de las ciencias’ en la que, además de estar implicadas las variables simbólicas, podrían incluirse la tendencia a elegir una cierta estructura del razonamiento matemático basado en una práctica imaginativa no muy lejana a los agrimensores medievales y a los pintores renacentistas, una concepción naturalista de los objetos geométricos, así como una teoría acerca de la constitución última del cosmos y su naturaleza infinita.
Life and Religion in the Middle Ages Ed. F. Sabaté
This paper wishes to offer a new perspective on this complicated issue.
Political and military re... more This paper wishes to offer a new perspective on this complicated issue.
Political and military references were a “strategic model” of passagium
generale in Ramon Llull’s works. That model sought the military defeat of the Muslims in the Holy Land, the Iberian Peninsula and the Maghreb, and envisaged their conversion, and also that of the Jews, through the divided arms of Christendom. That aim of conversion even touched an emergent people in the fight for the Eastern Mediterranean: the Mongols.
Aristotle's demarcation of intellectuals habits, science and art, opposes the demonstrative knowl... more Aristotle's demarcation of intellectuals habits, science and art, opposes the demonstrative knowledge based on necessary principles and the artistic production. Despite this opposition, Ramon Llull proposes the «Demonstrative Art». That Art comes from the medieval flexibility of the Aristotelian demarcation in which scientia-ars are related to varied disciplines: demonstrative, productive, or practical. This concept comes about through the circulation in the Introductions to Philosophy of the idea that the term scientia can be attributed to any discipline. Three different aspects justify that fact: the Isidorian definition of philosophy as «art of arts» (ars artium); the Boethian interpretation of the term scientia in speculative, productive or active senses; and the Farabian indication of the first philosophy as the discipline that contains the substantialia et accidentalia principles. The flexibility of the medieval scientia-ars relations is an important factor in understanding the Lullian project that goes beyond the alleged divergence between scientific demonstration-introduced in the Analytica posteriora-and the argumentative invention in the Topica. Resumen La demarcación aristotélica de los hábitos intelectuales, ciencia y arte, opone el conocimiento
Nota preliminar: Esta ponencia forma parte del proyecto desarrollado en la UAB gracias a la beca ... more Nota preliminar: Esta ponencia forma parte del proyecto desarrollado en la UAB gracias a la beca postdoctoral AGAUR-CBB 2011.
En el Libre de contemplació en Deu, encontramos tres modos de usar el término " atomus ". En el p... more En el Libre de contemplació en Deu, encontramos tres modos de usar el término " atomus ". En el primero, se trata de las partes que componen a los elementos: «Com jo sia compost dels atomus qui son movables per laer» ; en el segundo de las partes en que se dividen los cuerpos: «Pobra es, Sènyer, e mesquina la unió de la nostra substància corporal, car aquella se departex per la pols en atomus»; «Dia de ma-ravella, Sènyer, serà aquell, con vos ajustarets los atomus e los ossos» ; y en el tercero del infinito número de partes simples que componen a la naturaleza: «ni les aigües ni los atomus de les terres: tot, Sènyer, es sabut en vos». Los tres modos de significar el término " atomus " indican que desde sus primeras obras Ramon Llull estaba interesado en esta cuestión.
El silencio de Aristóteles y los praedicamenta en la obra luliana
In his Ars generalis, Ramon Llull introduces the categories as a set of " revealed " principles. ... more In his Ars generalis, Ramon Llull introduces the categories as a set of " revealed " principles. While these concepts come from the Aristotelian tradition, they are re-interpreted within the context of theological discourse and the fundamental description of nature. In so doing, Llull develops a new version of the arbor porphyriana and points out another method of definition which ignores the genus>species division. However, the invention of Llull's Art depends on the assimilation of ancient logic by means of medieval Arabic and Latin sources.
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Papers by Jose Higuera Rubio
The Lullism of the 21st Century: Thinking Machine or Super-intelligence? Lullism assumed in the second half of the 20th century that Llull's Art is part of the early history of digital technology. This assumption, inadvertently, links the Ars magna to the question about the relations between the operations of digital machines and mental activities. This issue has been slightly neglected in contemporary Lullism which sees in the Art an ancestor of computation, insofar as it is considered as a sort of heuristic tool that is able to calculate — in a primordial sense — the relationships between simple elements. This paper explores whether it is possible to put forward a " weak " or a " strong " interpretation of mind-machines relations in terms of medieval inventions such as cryptographers or mnemonic arts, which bear similarities with Llull's Art. These artifacts, far from replacing or imitating mind operations, sought to serve as a sort of instruments that increased the linguistic and imaginative human abilities.
la forma latina del término semiofísica que Rene Thom acuñó para referirse a la física Aristotélica. Dicho término cuestiona el límite que la historia de la ciencia ha establecido entre la física experimental expresada en lenguaje matemático y la física de las causas representada por el lenguaje de la metafísica aristotélica.Este trabajo intenta elaborar una aproximación al modo en que el lenguaje físico aparece en el pensamiento luliano desde dos puntos de vista: el primero, la representación de los procesos dinámicos en la naturaleza por medio de la noción sigillum; y el segundo, el modo en que los objetos geométricos, puntos, líneas, figuras y superficies, se toman como los componentes últimos de la naturaleza.
Political and military references were a “strategic model” of passagium
generale in Ramon Llull’s works. That model sought the military defeat of the Muslims in the Holy Land, the Iberian Peninsula and the Maghreb, and envisaged their conversion, and also that of the Jews, through the divided arms of Christendom. That aim of conversion even touched an emergent people in the fight for the Eastern Mediterranean: the Mongols.
The Lullism of the 21st Century: Thinking Machine or Super-intelligence? Lullism assumed in the second half of the 20th century that Llull's Art is part of the early history of digital technology. This assumption, inadvertently, links the Ars magna to the question about the relations between the operations of digital machines and mental activities. This issue has been slightly neglected in contemporary Lullism which sees in the Art an ancestor of computation, insofar as it is considered as a sort of heuristic tool that is able to calculate — in a primordial sense — the relationships between simple elements. This paper explores whether it is possible to put forward a " weak " or a " strong " interpretation of mind-machines relations in terms of medieval inventions such as cryptographers or mnemonic arts, which bear similarities with Llull's Art. These artifacts, far from replacing or imitating mind operations, sought to serve as a sort of instruments that increased the linguistic and imaginative human abilities.
la forma latina del término semiofísica que Rene Thom acuñó para referirse a la física Aristotélica. Dicho término cuestiona el límite que la historia de la ciencia ha establecido entre la física experimental expresada en lenguaje matemático y la física de las causas representada por el lenguaje de la metafísica aristotélica.Este trabajo intenta elaborar una aproximación al modo en que el lenguaje físico aparece en el pensamiento luliano desde dos puntos de vista: el primero, la representación de los procesos dinámicos en la naturaleza por medio de la noción sigillum; y el segundo, el modo en que los objetos geométricos, puntos, líneas, figuras y superficies, se toman como los componentes últimos de la naturaleza.
Political and military references were a “strategic model” of passagium
generale in Ramon Llull’s works. That model sought the military defeat of the Muslims in the Holy Land, the Iberian Peninsula and the Maghreb, and envisaged their conversion, and also that of the Jews, through the divided arms of Christendom. That aim of conversion even touched an emergent people in the fight for the Eastern Mediterranean: the Mongols.
https://www.ucm.es/apps
https://play.google.com/store/apps/details?id=es.ucm.fll.llullars
https://itunes.apple.com/es/app/llull-ars/id1347105603
Idea original, edición, textos, notas, selección de imágenes y recursos web: José Higuera Rubio.
Desarrollador/Designer: Sabrina Guzmán
Sponsors: Nando & Elsa Peretti Foundation - Barcelona, Fundação de Ciência e Tecnologia (Portugal), Universidade do Porto - Instituto de Filosofia, Universidad Complutense de Madrid – Departamento de Historia de la filosofía, Estética, y Teoría del conocimiento.
Gestión y lanzamiento del App: Universidad Complutense de Madrid – TICs Department - Alberto Banet.
Creative Commons License / Reconocimiento-No Comercial-Compartir Igual 4.0 Internacional.
The SIEPM Congresses in Palermo (2007) and Freising (2012) both held meetings devoted to Llull’s thought. This continued interest in Llull reinforced the constitution of a Lullian Section supported by the SIEPM Bureau (Commission of Latin Philosophy). Since its foundation, this research network has promoted academic research leading to new insights into Llull’s work as a vehicle for medieval philosophical concerns and into the history of its reception. The contributions gathered here reflect the preliminary insights and outcomes of this research. Moreover, in view of the 700th anniversary of Llull’s death (1316-2016) the essays provide a pertinent example of the continuing significance of Llull’s thought for our time.
LUGAR: Aula 4 (Facultade de Filosofía) DATA: 22 de outubro do 2018 HORA: 10:45-11:45 hs.
© U.Porto Press.
The purpose of this book is to collect in a single volume the multiplicity of approaches, perspectives, and contexts in which the research project From Data to Wisdom has been developed. One of the theoretical assumptions achieved is the idea that contemporary visualizations have abandoned the desire for absolute, synthesizing depiction in favor of a representation that is always imperfect and, so to speak, “in the making.” The very idea that data visualizations are representative, i.e., that they refer to “reality” has been widely discussed and criticized as well. Our intention, therefore, is to present a series of analogies between texts and images. In short, this book will be a mise en abyme of the always incomplete synthesis, but for this very reason richer in meaning, which in our opinion is at the heart, or at least should be, of today’s visual representations of knowledge.
G.W.F Hegel, Lecciones sobre la historia de la filosofía, II, 3.
La traducción y redacción de textos filosóficos o científicos en lengua vernácula siguió en gran medida los derroteros del poder cortesano y comercial que se nutrió, primero de la enseñanza escolástica y después del humanismo (s. XIII-XVI). El interés de estas comunidades (s. XIII-XIV) se decantaba por las obras históricas o enciclopédicas (Vincent de Beauvois, Brunetto Latini, Roberto Anglicus, los vestigia philosophorum, Poridat de poridades), aquellas que versaban sobre la vida práctica (Aristóteles, Boecio, Cicerón, Séneca, Christine de Pizan), lo que incluía también textos astronómicos y médicos. A mediados del siglo XIV se publicaron tratados jurídicos sobre la vida civil y comercial (Eiximenis, Oresme), a los que acompañaron un gran número de opúsculos sobre el amor espiritual y cortesano (Dialoghi d’amore, Il cortegiano), o la mística en lenguas germánicas. El complejo léxico lógico-metafísico de la escolástica tardía asistió a la emergencia de un saber que evitaba la rigidez de esta tradición, pero que deseaba conocerla, acumularla o servirse de ella (Duarte I, D. Pedro, Alfonso de Cartagena, Pedro Simón Abril, Alfonso de la Torre, Álvaro Gomes, entre otros en el contexto ibérico). La difusión acelerada del conocimiento, característica de la modernidad, tuvo en las lenguas vernáculas un vehículo de creciente importancia, no sin vacilación y experimentación. Otro ejemplo de esta circulación del saber son las antologías de refranes o adagia que encontramos en La philosophia vulgar de Juan de Mal Lara. En el mismo contexto se encuentran las versiones en vernáculo de la filosofía natural de Aristóteles, los recetarios médicos, como los atribuidos a Pedro Hispano, los manuales de Astronomía de Ibn Ezra, solo para mencionar algunos ejemplos. El vulgar que empezó a mostrarse “ilustre” –a partir del siglo XIII– se consolidaría como una expresión más del conocimiento filosófico y de un poder que pretendía superar el creciente desconocimiento de la lengua culta, acentuando la fragmentación babélica, ahora fuente de creación e innovación.
Today the term "design" denotes diierent forms of activity in which technology, knowledge, imagination, creativity and communication intersect. And many historical illustrations related to design can contribute to discussing those issues. In the context of design, what is the nature of imagination and image at play? What happens when design is applied to information, and not just to objects? What design becomes once applied to data? the goal of this conference is investigating the status of image in design according to the earlier perspectives of imagination and knowledge depiction, looking into the moment when design meets artiicial intelligence and computational media.
Visio et cognitio. Representations of Knowledge, from Medieval to Digital
Research project “From Data to Wisdom. Philosophising Data Visualisations in the Middle Ages and Early Modernity (13th-17th Century)”: http://ifilosofia.up.pt/projects/data-wisdom
Organization:
José Higuera (IP) -- José Meirinhos (co-IP)
Funding:
Competitiveness and Internationalisation Operational Programme (POCI), under the Portugal 2020 Partnership Agreement, through the European Regional Development Fund (ERDF) and through national funds by Fundação para a Ciência e a Tecnologia (FCT).
Programa Santander Universidades/Universidade do Porto