Reality

Queensland has been the last Australian jurisdiction to reform its law of criminal defences to try and take account of the difficulties faced by victims of domestic abuse in satisfying the traditional elements of self-defence. Section 304B of the Queensland Criminal Code was designed to create a partial defence for victims of domestic violence who, fearing for their lives, kill their abusers in circumstances that would otherwise constitute murder. Usually, these cases involve killing in the absence of a triggering assault or where the feared harm is not imminent. The partial defence provides that the accused will be found guilty of manslaughter only, thereby allowing for judicial discretion in sentencing. This paper argues that the new provision is ineffective and, in fact, puts victims of abuse who kill in a more difficult tactical position than if it had not been enacted. The theory of criminal responsibility (juxtaposing justification and excuse) and various moral theories are us...

It is explicated that human brain functions as ‘radio’ capable of projecting thought and emotional frequencies that may be categorized to operate on two distinct bands: the low frequency band (similar to the AM band) and the high frequency band (analogous to the FM band). The low frequency band concentrates on the affairs indigenous to the physical time-space continuum that are spearheaded by the active (physical) conscious mind that are piloted by the ‘rational’ brain. This is referred to as the ‘ego mind’ that is focused on a single reality, the one we identify our SELF with, the life sojourns that we are currently consciously experiencing and experimenting with. The high frequency band, on the other hand, operates in a much broader sense through the sub-conscious mind, which is of ethereal nature, traversing other dimensions of reality that may be classified as ‘parallel’ or ‘alternate,’ comprised of a multitude of consciousness states ordinarily not perceived by the physical brain. It is clarified that such parallel or alternate continuums of time and space are just as ‘real’ as the one we actively perceive by our ‘logical’ brain. In fact, we traverse and experience these dimensions of consciousness every night in dream state, when we are able to ‘turn off’ our physical consciousness and switch on our sub-conscious mind. These dimensional realities or alternate continuums of time and space are part of the holographic software programs of consciousness that run simultaneously with the one in our physical reality in what is referred to as the NOW moment. It is elucidated that we are all each part of a family of ‘soul aspects’ that are governed by a central higher dimensional consciousness named as our HIGHERSELF or soul. And, although the central soul or our HIGHERSELF is simultaneously conscious of all our life sojourns in all the parallel and alternate continuums of time and space, we purposefully remain unaware of our other concurrent ‘soul aspects’ in the interest of obtaining objective and unbiased life experiences. This condition also suits our limited capacity as biological entities to process all our life experience data due to our low light quotient-natural frequency.  And, once our natural frequency is uplifted as to meet the threshold required for obtaining ‘full consciousness,’ we come to the realization that we have the power to enter any hologram of time and space and willfully improvise and live our lives based upon any historical character reflected in the ‘Akashic Records’ that we wish (e.g. Mozart, Da Vinci, Tesla, etc.).  This way, we can go in the ‘past’ and create new parallel timelines from then on, adding to the repertory of already existing Akashic Records. In this regard, the distinction among past, present, and future become ambiguous at best, with all transpiring within the same moment of ‘NOW.’

El presente artículo forma parte de un proyecto de investigación en desarrollo, dirigido por la autora, que indaga sobre las condiciones de generación del lenguaje en el niño y que se fundamenta en la teoría del conocimiento del biólogo y epistemólogo chileno Humberto Maturana R. El objetivo del proyecto es comprobar si lo postulado por la teoría respecto al lenguaje ocurre efectivamente de ese modo en el transcurso de los primeros meses de vida de niños cuyo desarrollo es normal. El artículo muestra una visión general de la investigación y sus antecedentes; describe algunos hallazgos preliminares derivados de la observación, análisis e interpretación de las conductas de interrelación de cuatro niños registrados desde el nacimiento en su ambiente natural en interacción con sus madres o con quien cumple su rol, y los relaciona con la construcción de las relaciones interpersonales de los niños y niñas con necesidades especiales.

El presente ensayo constituye un intento de relación de tres cuerpos teóricos: el constructivismo radical; la biología de la cognición y la teoría pragmática del lenguaje. El propósito es describir el cómo podría darse la adquisición y/o emergencia de los deísticos de tiempo y espacio, que constituyen los componenetes léxicos básicos de la noción de realidad.  Con este fin se establecen complementariedades y afinidades teóricas que orientan el análisis epistemológico y de la psicología del lenguaje.

"Everything is in motion. "Inertness" arises from (approximative) repetition, that is, through rotation or an alternation that delineates a focus of consciousness. This focus of consciousness, in turn, must also move/alternate (the two differ only in continuity). If its alternation seems to go too far - physically, psychically or intellectually - it reaches into the
subconscious. In this way, interconnection is established by the alternation of the focus of consciousness. Therefore, in a world in which everything is interconnected, all focuses must
reciprocally transition into each other. "Reality" is a common "goal", a focus which all participants can switch into and which is conscious to them as such, as a potential one. Its
"degree of reality" is the probability of its fully becoming conscious (or more simply: its current degree of consciousness). Thus, a reality is created when all participants increase its probability or, respectively, their consciousness of it."

For it was not into my ear you whispered, but into my heart. It was not my lips you kissed, but my soul. Judy Garland After describing in the last chapter the nature of online relationships, this chapter describes the nature of emotions. It examines whether characteristics typical of emotions prevail in online relationships, and hence whether such relationships are likely to involve intense emotions. Although online relationships involve some virtual aspects, the emotions they generate are quite real. Emotions are highly complex and subtle phenomena whose explanation requires careful and systematic analysis of their multiple characteristics and components. The major reason for the complexity of emotions is their great sensitivity to personal and contextual circumstances. Cyberspace also involves a complex psychological reality: it includes many forms of relating that are highly available because of the imaginary nature of cyberspace. In light of this complexity, it is hard to generalize about the emotional realm in cyberspace. The typical cause of emotion: A perceived significant change Better make it four; I don't think I can eat eight. Yogi Berra's reply when asked if he wanted his pizza cut into four or eight slices. Emotions typically occur when we perceive positive or negative significant changes in our personal situation , or in the situation of those related to us. A major positive or negative change significantly improves or interrupts a stable situation relevant to our concerns.

The main purpose of this paper is to provide a critical analysis of Luc Boltanski’s account of the multifaceted relationship between mysteries, conspiracies, and inquiries in modern societies. It is striking that, although this important aspect of Boltanski’s oeuvre has been commented on by several scholars, his principal contributions to this area of investigation have been largely overlooked and received hardly any serious attention by researchers in the humanities and social sciences. This paper is an attempt to fill this noticeable gap in the literature. Thus, rather than covering the entire breadth and depth of Boltanski’s writings, the paper will focus on the valuable insights his work offers into the relationship between mysteries, conspiracies, and inquiries. To this end, the analysis is divided into two parts. The first part comprises an overview of Boltanski’s central theoretical contributions to our understanding of mysteries, conspiracies, and inquiries. The second part offers some critical reflections on important issues arising from Boltanski’s examination of the relationship between mysteries, conspiracies, and inquiries – especially with regard to its limitations and shortcomings.

A partir del apólogo con el que Antonio Machado inicia su Juan de Mairena, este texto pretende suscitar algunas reflexiones sobre la construcción política, social y pedagógica de «la verdad» y de «la realidad». La tesis que se ensaya es que para combatir la verdad del poder y la realidad del poder hay que combatir también el poder de la verdad y el poder de la realidad. Y, a partir de ahí, imaginar qué puede significar «educación» una vez abandonado el principio de la verdad (o la verdad como principio) y una vez perdido el sentido de la realidad (o la realidad como sentido). Palabras clave: verdad, realidad, poder, educación.

This study investigates how the members of four different role-playing communities on the online platform Second Life perform social as well as dramatic roles within their community. The trajectories of power influencing these roles are my main focus. Theoretically I am relying primarily on performance scholar Richard Schechner, sociologist, Erving Goffman, and post-structuralists Michel Foucault, Gilles Deleuze and Felix Guattari. My methodological stance has its origin primarily within literature studies using text analysis as my preferred method, but I also draw on the (cyber)ethnographical works of T.L. Taylor, Celia Pearce, and Mikael Jakobsson. In this dissertation my focus is on the relationship of the role-player to their chosen role especially in terms of the boundary between being in character, and as such removed from "reality," and the popping out of character, which instead highlights the negotiations of the social, sometimes make-belief, roles. Destabilising ...

Quantum physicists have made many attempts to solve the quantum measurement problem, but no solution seems to have received widespread acceptance. The time has come for a new approach. In Sense Perception and Reality: A Theory of Perceptual Relativity, Quantum Mechanics and the Observer Dependent Universe and in a new paper The End of Realism I suggest the quantum measurement problem is caused by a failure to understand that each species has its own sensory world and that when we say the wave function collapses and brings a particle into existence we mean the particle is bought into existence in the human sensory world by the combined operation of the human sensory apparatus, particle detectors and the experimental set up. This is similar to the Copenhagen Interpretation suggested by Niels Bohr and others, but the understanding that the collapse of the wave function brings a particle into existence in the human sensory world removes the need for a dividing line between the quantum world and the macro world. The same rules can apply to both worlds and the ideas stated in this paper considerably strengthen the Copenhagen Interpretation of quantum mechanics.

For ages we were used to have automatons, based on instructions. Now we are near to the moment that we have lesser control over the consequences of actions of software powered actors. The autonomous intelligent software agent with social learning skills creates itself soon. Watching the development of the mixed reality technology the virtual and physical worlds will mix seamlessly to a hybrid human environment, called interreality and it will be sure that the current ideas and rules, if any, about virtual identity have to be changed. The phenomenon of fictitious virtual identities, potentially in fully fictitious environments, is highly exploited in e.g. data transactions and games. Society has to deal with multiple identities and autonomous agents like we did before with technology novelties as result of the implementation of the telegraph and telephone. New regulation around any accountability "behind the bot" should be developed. This paper presents some guidelines.

Objective: This paper explores the therapeutic relationship, engagement and communication for participants using telepsychiatry (i.e., video; TP), telebehavioral health (TBH) and other technologies.
Methods: The goal of this concept paper is to help clinicians, teachers and researchers consider the intersection of the following three topics: 1) the therapeutic relationship in psychiatric and behavioral health care; 2) how TBH affects the therapeutic relationship, engagement, communication, and boundaries; and 3) research findings on telepresence (TPr), virtual reality (VR) and augmented reality (AR) applied to clinical care. A keyword search focused on concept areas: 1) therapeutic relationship, engagement, communication, boundaries, clinical; 2) telepsychiatry, telemental or telebehavioral health, telepsychology); 3) psychotherapy via technology; 4) computer/technology-mediated communication; and 5) telepresence related to technologies (virtual, augmented, reality, environment).
Results: From a total of 4,712 potential references, 453 were eligible for full text review and 77 papers directly related to the concepts. From papers’ references and a review of books and popular literature, 12 other sources of information (i.e., papers, books, other) about TPr and VR were found. Though few studies literally discuss the therapeutic relationship, the impact of technology on clinical engagement and communication is growing, from clinical (e.g., psychotherapy) and non-clinical (e.g., communication, TPr) literature. The historical evolution of TPr and VR shows that definitions, foci of studies (e.g., social neuroscience to business) and assessments vary widely. TP and TBH care can be improved by concepts of TPr, avoiding distractions, understanding the technology-human interface, measures of TPR for clinical use and the use of simulation for training.
Conclusions: Additional evaluation/research is needed to ensure quality care, training, and evaluation of the therapeutic relationship while preventing potential pitfalls.

The present text is a very abridged version of a book I wrote out of the desire to examine the structure of our reality from a standpoint unbiased by established teachings, be they
academic- scientific, popular- esoteric, or religious in nature.1 We will begin with seemingly simple interactions in our daily lives, examine how they originate on a deeper level, come to
understand the essentials of consciousness, and finally recognize that we create our reality in its entirety. In the course of this quest, we will uncover little-heeded paths to accessing
our subconscious, other individuals, and that which can be understood by the term "God". And the solution to the classical problem of free will constitutes the gist of the concepts thus
revealed.

Don  Quixote,  in  addition  to  being  a  literary  masterpiece,  is  also  an  inexhaustible epistemic  reservoir  that  we  need  to  draw  on  in  order  to  understand  what  the relationship  between  imaginary  and  reality  is  made  of  and  the  peculiar  way  it  is articulated  in  different  eras,  not  only  in  Modernity.  In  this  essay  -  from  the perspective  of  Social  Theory  and  the  Social  Change  analysis  -  I  will  try  to  highlight how  Cervantes'  novel  anticipates  by  many  centuries  what  will  be  the  most important  epistemological  (and  aesthetic)  acquisitions  of  the  20th  century.  Don Quixote  is,  from  this  point  of  view,  a  poetic  treatise  on  the  epistemology  of complexity  that  reveals,  in  its  folds,  the  mechanisms  of  functioning  of  complex systems and the paradoxes that are produced in them.After mentioning what makes this work unique in the cultural landscape of any age, I  will  therefore  dwell  on  its  great  epistemic  legacy.  In  addition  to  having  made  it possible  to  highlight  the  existence  of  multiple  realities  (Schütz,  2008),  it  consists  in having  created  an  immortal  mimetic  device  that  ostensibly  illustrates  the  co-essentiality and secret relationships between reality and the imaginary, anticipating the  relational  and  systemic  character  of  social  reality  and  the  risks  that  lurk  in  the inauspicious treatment of its complexity.

In their Dialectic of Enlightenment, Adorno and Horkheimer observe that the Enlightenment constitutes itself by rejecting myth as subjective. Yet, once the Enlightenment has dominated the entire world with its abstract categories, it cannot but turn into pure subjectivity, and thus into myth. How can we escape such a negative dialectic? The aim of this investigation is to show that Spinoza's theory of myth and imagination provides us with the tools for doing so.

The competitive advantage that any organization enjoys is attibuted to its human capital. Retention of that resource is one of the major challenges faced by Human Resource (HR) Managers. This is generally accomplished through employee-friendly HR policies and practices. A major thrust is put on recruiting the best quality manpower, developing them through focused training programmes and motivating them with attractive financial packages, incentives, challenging tasks, etc. This paper showcases the inevitabile result of the absence and non-implementation of structured and fool-proof policies, i.e., the impact HR policies and practices have on employee turnover. The focus is on Campus Placement and recruitment of Management Trainees (MTs) as well as the experience of these MTs through the case of one such individual. This live case study is based on primary data -preand post-placement interactions with the incumbent. The case is followed by the results of a questionnaire-based survey conducted on 50 non-HR emloyees with minimum 2 years of experience covering both servcice and manufacturing sectors, to get their feedback on how far HR policies are implemented. The overall scope of the study is limited as it covers the retention of only one position, i.e., Management Trainees taken in through campus placement.The practical implication of this original work is that though the survey has shown that the majority of the respondents have positive feedback regarding implementation of policies, HR cannot afford to have negatice perception even from one individual as it deals with the soft 'S' of the employees.

Mémoire de maîtrise en Études littéraires, UQAM, année 1999

À noter qu'il s'agit de la version 1, celle qui a été déposée à la fin de mes études, et qu'une version corrigée est en cours de préparation. (2022)

Le simulacre, mettant à l'épreuve les frontières entre réalité et fiction, est le faux qui se fait passer pour vrai, qui prend la place du réel. Ce que nous observons dans les romans 2001 : L'Odyssée de l'espace d'Arthur C. Clarke, Solaris de Stanislaw Lem et Do Androids Dream of Electric Sheep de Philip K. Dick, c'est la mise en scène de personnages secondaires qui sont des simulacres d'êtres humains. Cette analyse s’applique à suivre le parcours identitaire du personnage principal de chacun des récits, déterminé par la relation avec les êtres factices. Deux types de simulacres interagissent dans les textes, désignés par les termes "anima" et "automata". L’être humain, bouleversé dans cette relation à l’automata par le biais du simulacre qui lui sert de miroir, subit les effets d'une scission, suivant un processus par lequel les personnages principaux vont renouveler leur rapport au réel et recréer leur identité. À noter que certaines citations sont en anglais.

Copyright: © 2010 Julie Martineau Standard Copyright License
Version : 2 (non définitive)

The author considers the problem of beauty. He identifies beauty as an analogically understood property of reality, of human products (including art), and of the human mode of conduct, and as that which, in the tradition of Western culture, is expressed under the form of harmony, perfection, or splendor, which as beheld and for beholding arouses complacency or pleasure. The article discusses the following topics: classical theories of beauty, beauty in the metaphysical conception, beauty in aesthetics, the separation of beauty from reality, and the problem of ugliness.

The paper presents an outline of a new personality theory on the basis of its language phenomenology. The basic assumptions of the new theory are preceded by theoretical analysis of the contemporary "methodological market" of personological formulations. The paper discusses the so-called clinical (deductive) and scientific (inductive) approaches to elaborating personality theories as well as integrative attempts of trait theorists to find "the golden mean" between objectivity and universal structure of personality, among which the basic models are the 16PF, the PEN, and the B5. As analysis shows, although at present some universal personality constructions are revealed, they mostly represent dimensional taxonomies which are hierarchical at best. Such formulations cannot be called personality theories in their proper sense because they can be used basically for descriptive purposes -being incapable of explaining causes of behavior or of predicting the direction of purposeful activity. The language personality theory proposed in the paper is based on theoretical assumptions of a different, nontraditional variant of the fundamental lexical hypothesis, encoded in the language which focuses on the essential similarities of people, not on their dissimilarities. Additional perennial philosophical ground and linguistic conception of semantic primitives allow the theory to have the structure, dimensional taxonomy, and quality of universality.

INTRODUCTION

Si on demande à un physicien quelle est l'interprétation qu'il donne au formalisme quantique la plupart d'entre eux répondront qu'ils adhérent à l'interprétation dite de Copenhague. Cependant dans la pratique il est assez probable qu'ils changent les règles du jeu sans s'en apercevoir. Une des raisons de cette situation est peut être que l'interprétation en question est fondée surtout sur les idées de Niels Bohr, et sa pensée n'est pas suffisamment connue. En effet, dans la plupart des manuels de mécanique quantique il n'y a que quelques paragraphes sur certaines des thèses de Bohr. Il y a également le fait que les écrits de Bohr sont à la fois profonds et obscurs. En plus de son importance pour mieux comprendre l'interprétation du formalisme quantique une étude de la pensée de Bohr est également intéressante du point de vue philosophique puisque ses idées ont beaucoup d'implications générales et sont évocatrices de nouvelles études.

Dans cette Thèse un essai sur la pensée de Niels Bohr est présenté en s'appuyant sur ses écrits originels. Sans prétendre nier les influences philosophiques possibles sur sa pensée, nous mettrons l'accent sur les faits scientifiques qui ont aidé Bohr à donner une forme définitive et concrète à ses idées.

Dans le premier chapitre nous étudions la conception bohrienne du but et de la tâche de la science. Celle-ci est avant tout pour Bohr une affaire  de communication: son but exclusif est d'augmenter et d'ordonner l'expérience humaine communicable sans ambiguïté.

Nous faisons quelques commentaires sur certaines idées de Bohr au sujet de la science et nous proposons comme critère de scientificité l'emploi d'un langage dénué d'ambiguïté. On peut se demander quel sera ce langage. Sera-t-il celui des mathématiques, étant donné que celles-ci constituent un langage précis et non-ambigu? Ou bien sera-t-il possible d'avoir plusieurs langages dénués d'ambiguïté?

Dans le chapitre 2 nous analysons la réponse de Bohr aux questions précédentes. Nous montrons que 1'un des aspects les plus fondamentaux de la pensée de Bohr est sa thèse selon laquelle le langage courant non seulement permet d'arriver à la non-ambigüité mais est le seul langage que nous possédons (et que nous posséderons jamais) que nous puissions parvenir à employer sans ambiguïté. Cette thèse nous l'appelons l'unicité du langage courant. Nous nous demandons quels sont les éléments du langage courant que Bohr considère comme indispensables pour une communication exempte d'ambiguïté et nous concluons que ces éléments sont, selon lui la localisation dans l'espace et le temps et la causalité. Il faut préciser que par causalité, Bohr entend le déterminisme de la physique classique.

L'importance de la thèse de l'unicité du langage courant dans la pensée de Bohr vient du fait qu'à partir des considérations sur la non-validité du langage ordinaire dans  les  phénomènes quantiques, Bohr en vient à considérer le quantum d'action et ses propriétés comme quelque chose à accepter sans aucune interprétation additionnelle possible. Et ces propriétés du quantum d'action l'amènent finalement à sa conception de la réalité physique.

Dans le chapitre 3 nous rappelons les difficultés bien connues que les régularités quantiques présentent lorsque 1'on tente de les analyser en termes de concepts classiques. Nous montrons comment ces difficultés convainquirent Bohr de la nécessité impérieuse et irrévocable de renoncer à 1' explication classique de l'existence du quantum d'action. Ce dernier doit, selon lui, s'accepter comme une chose fondamentale qui n'admet ni ne requiert d'explication. Une fois que l'on accepte le quantum d'action en tant qu'élément irréductible, il est nécessaire de trouver et d'analyser les conséquences qui en découlent. Nous identifions trois conséquences: le caractère de totalité des processus atomiques, l'indivisibilité entre l'objet et l'instrument d'observation et le caractère essentiellement statistique de la mécanique quantique.

La nécessité d'employer les concepts classiques pour décrire les expériences mêmes qui fournissent l'information sur les régularités quantiques et l'impossibilité de créer un nouveau langage qui pourrait éventuellement les expliquer, constituent pour Bohr le paradoxe quantique. Pour résoudre ce paradoxe Bohr créa une nouvelle manière d'employer le langage: le mode complémentaire de description.

Le mode complémentaire de description ou plus simplement la complémentarité est le sujet du chapitre 4. La complémentarité est proposée par Bohr comme une nouvelle relation logique entre les concepts du langage courant, comme un développement rationnel du langage commun, comme une manière d'amplifier ce cadre conceptuel de telle façon qu'il soit possible d'exprimer des expériences qui sont hors du champ de validité du langage courant sans avoir besoin d'abandonner celui-ci.

Bohr a été souvent critiqué pour n'avoir pas donné une définition précise de l'idée de complémentarité. Einstein a écrit à ce propos que malgré tous les efforts qu'il avait faits il n'était pas parvenu à une formulation précise du principe de complémentarité de Bohr. L'affirmation d'Einstein, non seulement exprime la critique en question, mais illustre la difficulté de trouver une définition que Bohr lui-même n'a nullement présentée explicitement dans ses écrits. Nous croyons pourtant qu'il est possible de définir avec précision la complémentarité si l'on prend en compte les thèses linguistiques de Bohr et ses considérations sur l'impossibilité fondamentale d'analyser l'existence de h et la totalité qu'elle confère aux phénomènes quantiques.

Nous    présentons    une    série  des  propositions  comme  une  définition  précise  du    mode    complémentaire  de description.  Au  moyen de la terminologie introduite nous  montrons en particulier que le problème de la mesure ne se présente pas chez Bohr.

En  analysant la suggestion de Bohr d'employer  le  mode complémentaire de description comme  solution  au  problème fondamental  de la mécanique statistique nous  identifions une nouvelle sorte de totalité que nous pouvons qualifier de thermodynamique.

Finalement nous analysons les tentatives de Bohr pour utiliser la complémentarité dans des domaines différents de la physique.

Dans le chapitre 5 nous étudions ce qui constitue peut-être l'intuition la plus significative de Bohr. Il s'agit de l'indivisibilité entre les instruments et les objets quantiques. L'importance de cette idée vient du fait que même si l'on rejette les à priori philosophiques de Bohr, tels que sa thèse sur le langage courant ou son refus d'ontologie, même si l'on considère que son interprétation est déjà dépassée, même si on la dit incompréhensible, ou floue, même si par opposition, on adhère au réalisme, voire au réalisme physique, il reste que, par son idée d'indivisibilité, Bohr a apporté quelque chose qui s'est avéré être très proche de la vérité, puisque la non-séparabilité est maintenant établie.

Au  chapitre  6  nous  terminons  notre  exposé  sur les thèses de Bohr en examinant sa conception de la réalité physique. Notre  conclusion  est  que selon ses  idées aucun  objet    physique  n'a des    propriétés en soi.  Une    analyse    critique    de    la    conclusion de Bohr selon laquelle aucune ontologie n'a de place dans son interprétation de la mécanique quantique montre cependant que la conclusion en question n'est pas contraignante. L'on ne peut pas soutenir en conséquence que c'est Bohr le vainqueur dans le grand débat avec Einstein sur la nature de la réalité physique.

Bohr et Heisenberg sont considérés comme les fondateurs de l'interprétation "orthodoxe" de la mécanique quantique, interprétation qui est connue par le nom d'interprétation de Copenhague. Si cette interprétation existe il est raisonnable de dire qu'elle ne peut être que l'intersection entre les thèses de Bohr et Heisenberg. Nous analysons au chapitre 7 les idées de Heisenberg et notre analyse nous conduit à la conclusion de que strictement il n'existe pas une interprétation de Copenhague, c'est- à- dire que l'intersection des thèses de Heisenberg et Bohr ne constitue pas vraiment une interprétation du formalisme quantique. Nous proposons que l'on parle soit de 1'"interprétation de Bohr" soit de 1'"interprétation de Heisenberg" quand on veut se référer aux "interprétations orthodoxes" de la mécanique quantique.

Dans  le chapitre 8 nous étudions les thèses de Wheeler, d'Espagnat et Bohm.  Wheeler prend les idées de Bohr comme fondement pour proposer une théorie qui permettrait de comprendre l'existence et  l'origine de  l'univers.  Sa théorie est une cosmogénèse non-ontologique.

Nous concluons qu'il existe une ressemblance entre la thèse de Bohr de l'unicité du langage et la thèse linguistique implicite chez d'Espagnat, appelée pour nous l'impuissance du langage.

Finalement il est montré que dans la théorie de Bohm se trouve un aspect de totalité qui, à différence de la totalité bohrienne, est conceptuellement analysable.

Dans le chapitre 9 nous organisons en trois catégories les conclusions auxquelles nous avons abouti après l'analyse présentée aux 8 chapitres précédents: tout d'abord nous présentons des conclusions sur le langage, ensuite viennent celles sur la mécanique quantique proprement dit, en enfin nous exposons celles relatives à la réalité.

Ces trois catégories ne sont pas indépendantes les unes des autres et si nous les avons explicitement séparées c'est pour mieux indiquer qu'il s'agit des conséquences découlant du langage, de son rôle dans la science, et de la relation qui existe entre la réalité et le même langage; conséquences qui se dégagent d'une analyse approfondie des interprétations du formalisme quantique.

Ces trois catégories de conclusions justifient le titre de notre Thèse: Langage, Mécanique Quantique et Réalité.

Anahtar Kelimeler: Sinema, gerçeklik, Bazin, dijital teknoloji, dijital görsel efektler

Dijital teknolojinin sinemada kullanılmaya başlaması, 1920’lerin sonunda filmlerde sesin kullanılmasına benzer bir etki yaratmıştır. Dijital teknolojinin özellikle film yapımında kullanılması, üretim masraflarını azaltarak film yapımını daha demokratik hale getirmiş ve özel efektler konusunda seyirciye çekici gelebilecek yeni açılımlara olanak tanımıştır. Bu çalışmada, teknolojinin gelişmesinin sinemanın nesnel gerçekliği yeniden üretmesini nasıl etkilediği, Bazin’in gerçekçilik kuramından hareketle incelenecektir. Bazin’e göre sanatçının eserinde amaçladığı, dış dünyayı yeniden yaratarak korumaktır. Sinema, nesnelliği ve gerçekliğin zaman boyutunu da yakalayabilmesi ile bu amaçta diğer sanatların önüne geçmektedir. “Sinematik gerçekçilik” anlayışı, sinemanın insan algılaması psikolojisine sadık olmasıdır. Bunu yapmak için de sinemada uzam ve zaman algılamasını daha iyi taklit edebilecek teknolojik gelişmeler gerekir. Dijital teknoloji, sinemanın yüklendiği bu işlevi sinemadan nesnelliği alarak geçersiz kılar. Zira artık sinema, Bazin’in ifade ettiği şekli ile mekanik bir üretim sürecine sahip nesnel bir araç değildir. Dijital görüntülerin 1980’ler ve 1990’larda gelişmesi, görüntülerin Batı kültüründeki anlamını radikal olarak dönüşüme uğratmıştır. Görüntü, bilgisayar/dijital teknoloji aracılığıyla değişime uğratılabilen, üzerinde oynanabilen bir hal kazanmıştır. Analog görüntüler somut gösterenleriyle fiziksel bir benzerliğe sahip iken, dijital görüntü ile madde arasındaki ilişki zayıflamış, sinemanın dışsal bir gerçekliğin kopyası olma özelliği yok olmuştur. Diğer yandan dijital teknoloji, her zaman daha gerçekçi bir görüntü sunabilmenin peşinde olmuştur. İşin içine bilgisayarla üretilen görüntülerin girmesiyle bir yandan anlatılan öykünün daha gerçekçi ve inandırıcı bir şekilde anlatılması, diğer yandan dış dünyada varolmayan nesne veya canlıların “gerçekte varmış gibi” üretilmesi sözkonusu olmaktadır. Bu bağlamda, dijital teknolojinin özellikle özel efektler (görsel-işitsel) yaratmada kullanılmaya başlaması ile sinema ve gerçeklik ilişkisinin nasıl bir boyut aldığı, günümüz ‘anaakım sineması’ içinde üretilen yüksek bütçeli popüler filmlerin vazgeçilmez bir öğesi haline gelen dijital özel efektlerin anlatıya katkıları Star Wars örneği üzerinden incelenecektir. 



Keywords: cinema, reality, Bazin, digital technology, digital visual effects

Use of digital technology had a great impact on cinema, possibly comparable to use of sound for the first time in late 1920s. Digital technology reduced the costs of production, democratizing to some extent the film making process, and provided new ways of attracting the spectators through special effects. In this work, we will discuss how the technological changes affected reproduction of reality in cinema, based on Bazin’s realist film theory. According to Bazin, artist aims in his/her work to protect the outer world by recreation. Cinema has an advantage over other art forms in this respect, since it is able to capture objectivity and temporal dimension of reality. In “cinematic realism” cinema is loyal to human perception psychology. To achieve this objective, new technologies are needed to better imitate temporal and spatial perception. Digital technology renders this function invalid by removing objectivity from cinema. Cinema is no more an objective tool with a mechanical production process as was argued by Bazin. With the advance of digital imaging in 1980s and 1990s, the meaning of image is radically transformed in western culture. Image can be changed through digital technologies. While the analogue image had physical similarity to concrete objects, with digital technology cinema lost its property of creating a copy of the outer reality. On the other hand, digital technology strives to present a picture as ‘realistic’ as possible. With the introduction of computer generated images, artists are now aiming to tell more ‘realistic’ and convincing stories and they create creatures and objects exactly as they would exist in the real world even though these do not exist in reality. In this context, this study will analyze the relation between cinema and reality in a world where digital technology and especially digital visual effects are extensively being used. Analysis will be supported by in depth analysis of Star Wars movies produced in recent years

SUMMARY
The following doctoral study is focused on the description of the similarities between Jorge Luis Borges and Vladimir Nabokov narratives, especially in their conceptual analysis, and in the definition of their origin. The originality of the following research arises not only from the large amount of material that has been used, but also in the depth of the study achieved with the help of an exhaustive method of computer science analysis. According to our initial hypothesis, the similarities that exist between Borges and Nabokov’s texts lies in the affinity of their thoughts and in their way of perceiving the world. First of all, such similarity can be noticed in the subject matter chosen by them.
My dissertation consists of an Introduction, two parts, conclusion and appendix.
I began with a chronogram in which I included the main events in the author’s lives, the initial publication of their works, along with the most important social and cultural events that took place between 1899 and 1986. In spite of its dynamic and unfinished character, this chronogram served as a point of reference for every step in its development. In fact it became a part of the Appendix.
In the Introduction I present the aims of this work, the issues it brought forth, its structure and the handling of bibliographical sources. The first part is dedicated to the correlation study of Borges and Nabokov’s Biographies, and also to their likes and dislikes in their readings. Furthermore, we try to define the contact that existed between them.
In the second part the correlation between the different topics and motives is established. Topics such as time, reality, memory, heroism, and motives such as the mirror, the labyrinth, the chess, the blindness constitute the key issues.
As a conclusion, I carry out a short review through the final results.
The similarity that can be seen in the sort of topics and motives that both authors use constitute a number of different lines of discussion, varying images, metaphors and symbols.
After considering the possibility that they might have been influenced by each other, I concluded that this hypothesis should be dismissed. Although I believe that both writers had access to each other’s literary works a few years before they reached world-wide fame before the sixties.
To our mind, the origin of the coincidences that can be observed between both narratives must be searched in the upbringing, their reading interests and finally in the socio-cultural insertion. It could also be relevant to the topic the parallelism that is drawn in their biographies.
Both Borges and Nabokov come from well-educated families: the level of education of their progenitors was very high. Their fathers were professors and both were fond of philosophy and psychology, and they followed closely the contemporary science advance. Their mothers could speak several languages; they had a wide range of interests. Both families invested extensively in the pursuit of learning and in the education of their children.
Their families were partial to the British culture. So much so that their sons started to speak both their native language and in English at the same time of their lives. Their parents and their governesses were in charge of instilling in them love for the English culture.
Their linguistic instruction was determined by their first readings. They read almost the same authors and the same books. Their second foreign language was French. After learning English literature they started with the French one. Besides that, the period enforced the reading of French authors: parnasianism, symbolism, modernism.
Among their favourite authors from different periods, we can highlight Wells, Doyle, Stevenson, Joyce and Kafka. Apart from that, we need to mention the love Nabokov and Borges felt for Shakespeare. The analysis of their readings reveals that both authors had contact to many philosophical theories, not only the ancient ones but also the modern. Furthermore, we suggest that William James could be a key figure for both writers education.
Time, memory and reality topics are the core of their ideas. The importance of these topics in relation to their artistic tendencies is different, the Argentinean is especially partial to the topic of time and Lolita´s author to memory.
In a close contact with these two topics, the concept of eternity acquires a significant importance. The problem of identity and otherness- as pointed out by several authors -seems to be not as important as the ones we already mentioned. Both Borges and Nabokov argue in favour of the singleness of every moment and phenomenon. Both raised doubts regarding the existence of a reality, a time and self. Despite that, both think that they might be wrong in their speculations. Borges shows himself agnostic and maintains a sceptic attitude, but he conserves certain ontological optimism. Nabokov on the other side shows self-confidence, although behind this appearance we can see a writer full of doubts who does not trust the human capacity to reach the knowledge within the bounds of its worldly life.
Both writers had scientific tendencies, in their critics about others writers literature. They proceeded like philologists. In the exposition of their favourite subjects, they showed a discipline that is not common among writers.
Nevertheless, and despite the proximity of their interests, Borges and Nabokov had two opposite personalities. Borges was limited to the books´ world and affirmed, being proud of it that he had got to know everything throughout books instead of having contact to the real world. His way of thinking revealed a clear speculative tendency, with a high level of abstraction. He maintained himself distant, and we could even say, he was scared of the material world. He was never attracted by colourful landscapes, whose value was attached to his beauty: to perceive them, they had to be related to a psychic or intellectual meaning. On the other hand, Nabokov loved life deeply; he was a great naturalist in everything he did.
He stood out from the rest in many sports; He learnt how to perceive the world in every single detail. He loved and he got love back. He was happy and he made people who loved him happy. His image seems to be opposite to Borges´ who admitted that he had committed the worst of sins, by not being happy.
These personal differences have a final result in both writers and determined their artistic methods. While the first one looks for the archetype and the universalism, the second one prefers to study the situation step by step, looking for every single detail. Borges perceives a world full of repetitions, drawing a circle that is nearly perfect, and Nabokov pondered the spiral image, which in its dialectic movement enveloped the artist-nature. Taking this into account, we have to emphasize that these addresses to implicit tendencies in the artistic trajectory of both Nabokov and Borges which doubtless admit certain deviations.
The poetical universe of these two masters of the twentieth century literature are far from any possible theoretical approach : we only speak about them in a broader term, since their reality is not still, but keeps changing. Both arise out of Proteos´ sign, “a symbol of human condition” and also of literature”. It is not a casualty that both Borges and Nabokov so in William Shakespeare the incarnation of this enigmatic Greek god. And that was in itself the essence of the artist.

Fotografiet er som en firkantet skive af rum og tid.  Firkanten kan fastholde erindringer, traumer og drømme, altså vores mest af alt tavse udtryk. Den virkelighed, der helt uomtvisteligt viser sig på fotografiet, åbner op for andre billeder, nemlig erindringens, traumets og drømmens udtryk - altså fjerne, ubevidste og tavse billeder. Denne åbning bliver muliggjort ved, at virkeligheden fikseres som billede og denne fiksering er paradoksal: tiden og rummet bliver både fastholdt og ophævet ligesom i de indre billeder. De kan forenes i det øje, der med Roland Barthes tænker. I artiklen skelner jeg ikke mellem analoge og digitale fotografier, fordi jeg for det første mener, at der er tale om en kontinuitet. Fr det andet var det digitale fotografi kun i sin begyndelse med navne som Nancy Burson og Aziz/Cucher.
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English:
The photograph is like a square slice of space and time. The square can retain memories, traumas and dreams, ie our most of all silent expressions. The reality that unequivocally appears in the photograph opens up other images, namely the expression of memory, trauma and dream - that is, distant, unconscious and silent images. This opening is made possible by the fact that reality is fixed as an image and this fixation is paradoxical: time and space are both maintained and abolished, just as in the inner images. They can be united in the eye that thinks with Roland Barthes. In the article, I do not distinguish between analogue and digital photographs because, firstly, I believe that there is a continuity. Second, digital photography was only in its infancy with names like Nancy Burson and Aziz / Cucher.

Los nombres de Borges y Nabokov a menudo comparten espacio en las páginas dedicadas a la historia de literatura contemporánea. Pero ¿qué hay detrás de tales concordancias? Este libro ofrece una respuesta fundamentada en el estudio comparado de los temas y motivos comunes y recurrentes en las obras de ambos autores. Escrutando la realidad, el tiempo y la memoria, Borges y Nabokov formulan concepciones afines reflejándolas en sus escritos. Les fascina el valor de los hombres y les hace plantear su propia postura ante la vida, les aterran los espejos y atraen los laberintos, les maravilla el juego de ajedrez y apasiona la búsqueda de claves. Los dos escritores también prestan especial atención al sentido de la vista al que otorgan un importante rol simbólico en sus cosmovisiones. Como demuestra el estudio, la proximidad de los idearios de Borges y Nabokov se debe a los contextos socioculturales en los que se forman sus personalidades y se desarrollan sus trayectorias artísticas y vitales. Mas las similitudes observadas no desvirtúan las divergencias que imprimen el sello de unicidad en las obras de estos autores, de lo que también se da cuenta en el libro.

This paper considers some aspects of the meaning of chronic lateness in psychoanalytic psychotherapy. The central role of time in psychoanalytic work and the significance of enactments around the analytic frame are considered. Using clinical material the writer explores how lateness can be understood as an expression of global difficulties in accepting and adapting to the demands of reality as well as a wide range of complex object-relationship difficulties. Some of the technical and countertransference complexities of dealing with lateness are discussed. Lateness is seen to project intolerable experiences into the therapist, to demonstrate the patient's intense difficulties in imagining and tolerating a productive couple, to re-enact a sadomasochistic dynamic from the patient's past and to re-encounter/re-address the patient's early experiences of rejection and oedipal rivalries. The eventual synchronization of therapist and patient's times is explored as a major achievement in the patient's increasing capacity for relating.

The theatre of Absurd depicts the universe which has lost his meaning and purpose. The dramatist of the Absurd drama finds the universe and everything in to be arbitrary, disconnected and irrelevant. In this type of Drama, dramatist asks the question what is the meaning of life and get the answer that there is a No meaning of Life.

The infinite organism, an idea that goes back several thousand years, may be the explanation for life, as we know it. The infinite organism has similarities to the God concept. It also constrains the God concept. It can be inferred that the infinite organism itself as the source of finite organisms is constrained by what is known empirically about finite organisms. A discussion of finite organisms, the infinite organism and God provides an opportunity to redefine the God concept in ways that are more compatible with empirical principles. The source of life must either be biogenesis or abiogenesis, biogenesis, defined as simply meaning life created by other life and abiogenesis defined as life created from non life or inanimate matter.

Resumen Las estructuras más profundas del pensamiento humano se manifiestan bajo la forma de símbolos y mitos, van más allá de la configuración histórica concreta, atravesando toda la historia humana. Definen las formas que reviste el imaginario, dando origen, así, a los referentes que determinan la conciencia de la identidad colectiva e individual. Las funciones sociales de los mitos: cognoscitiva, ontológica, psicológico-moral y socio-política responden a esas estructuras profundas de la mente humana, determinando la vida social en todos esos aspectos, orientando decisivamente los procesos de formación de la identidad. Palabras clave: Mito, símbolo, arquetipo, identidad personal, identidad grupal. Abstract The deepest structures of human thought manifest themselves under the form of myths and symbols. They exist beyond the particular configurations of history, defining the forms that social imaginary acquires. In this way they determine the collective and individual conscience of ...

It has become popular to portray the Buddhist Nāgārjuna as an ontological nihilist, i.e., that he denies the reality of entities and does not postulate any further reality. A reading of his works does show that he rejects the self-existent reality of entities, but it also shows that he accepts a "that-ness" (tattva) to phenomenal reality that survives the denial of any distinct, self-contained entities. Thus, he is not a nihilist concerning what is real in the final analysis of things. How Nāgārjuna's positions impact contemporary discussions of ontological nihilism and deflationism in Western philosophy is also discussed.

Living in Mixed Realities
What does it mean to live, play and work in a world shaped and perceived through digital media, networks and architectures of real and virtual space? How can the development of complex communication spaces, life environments and economic models be designed as an interplay of technological, social, and artistic forces, as Mixed Realities of Art, Science and Technology.

The design of a Mixed Reality Architecture, which connects processes in virtual space to the social environments and everyday cultural practice, poses challenges to technologists, scientists and artists alike. Basic design elements are networked structures, which allow new collaborative forms of work and Knowledge Discovery, human-oriented interaction and Awareness, media spaces, Room ware and advanced interfaces.

cast01 artists and scientists will present innovative technologies, tools and research projects from the European Commission Information Society Technologies Programme (IST). Artists will show aesthetic concepts of digital culture and new interactive media formats.

Some of the topics that symbolize the influence of information technology on patterns of life and work in a networked society are Agents, Avatars, Semantic Web, poetic interfaces. cast01 explores new ways in which the next generation of cultural techniques can be understood, explored and supported through creative interdisciplinary strategies.

cast01 demonstrates outstanding examples of research, technological development and artistic production in the form of research papers and artistic presentations as well as blueprints and posters about ideas still under construction. More than 400 researchers, artists, theorists, practitioners and entrepreneurs submitted interdisciplinary projects and critical concepts on Mixed Reality. Highlights of the conference are the launch of the Internet media lab »netzspannung.org« and the »digital sparks« initiative.

CAST01 // RESUME
http://netzspannung.org/version1/cast01/resume/index.html

REVIEW of recurring issues by maia engeli and phoebe sengers
http://netzspannung.org/version1/extensions/cast01-proceedings/pdf/cast01_resume.pdf

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cast01 // Living in Mixed Realities: Conference on artistic, cultural and scientific aspects of experimental media spaces.
September 21-22, 2001. Sankt Augustin (Bonn, Germany)
Organiser: MARS-Exploratory Media Lab, GMD Institute for Media Communication.
Under the patronage of Edelgard Bulmahn, German Federal Minister for Education and Research

Through fantasy we are able to group, explain, alter and comment on reality. Fantasy can subtly lure readers into its comforting embrace and speak to the human desire for more than the empirical world of the familiar. With that in mind, this paper aims to critically analyse and discuss how the lines between fantasy and reality are blurred in literature. It is hoped that this systematic review will project our desires which appear in the form of fantasy onto reality. Three research questions were formulated: (1) Can magical realism be the bridge between fantasy and reality in literature? (2) What role does fantasy play in literature? (3) How does fantasy affect its audience? Search items identified 72 articles and books related to this topic. The analysis shows that there are differing views and opinions about the fantasy versus reality debate in literature. The importance of this study is to bridge the gap between fantasy and reality in literature, and in addition to provide insights to the readers on how literature is perceived differently by different people. Introduction Fantasy fiction typically presents the readers with fictional worlds that to some degree relate to our actual world. Fantastical worlds range from being wholly different in all aspects from the real world to being a fictional real world with a single occurrence of the supernatural, or any degree of fantastic elements in between the two extremes. Whichever the case may be, all of these fantastical worlds invariably relate to our own world and therefore they cannot escape relation to it, even if only by virtue of being written in this world and read by a reader from this world. Starting with the most fantastic worlds, that is to say, the most different from the fictional real world and ending with the least fantastic, we will show that each of these worlds to some degree relate to our actual world. We argue that authors actively construct a reality or a deviation from a reality in fantasy with the intent of providing a realistic work of fiction despite its fantastical elements. This action positions the fictional reality in between the book and the reader, by virtue of being only half a reality which requires a reader to close the gaps in the text.

Anne Beyaert-Geslin, « L'image ressassée : photo de presse et photo d 'art », dans Communication et langages n° 147, mars 2006, pp. 119-135. « ce n'est pas le passé qui nous obsède, ce sont les images du passé » Georg Steiner « Poreuse et dynamique », la photographie est un lieu de passage pour toutes les pratiques artistiques contemporaines 1 . Cette avidité témoignée au monde lui-même (« pas une seule chose du monde qui n'ait été photographiée », affirme Sontag) autant qu'aux autres genres de l'image en fait un domaine d'investigation exemplaire pour une étude des pratiques. Mon idée n'est pourtant pas d'observer toutes ces circulations mais de me concentrer sur les transformations qui se produisent entre deux pratiques, la photographie de presse et la photographie artistique. Le choix de celles-ci suit tout d'abord les commentaires de la critique qui, faisant état d'une « crise de l'activité journalistique », soutient qu'une « autre information » est produite aujourd'hui avec « les moyens plastiques et théoriques de l'artiste » 2 , ce que confirme, en maints endroits, l'actualité artistique 3 . Cette limitation à deux pratiques exemplaires manifeste également un souci heuristique et observe le précepte sémiotique selon lequel le sens apparaît dans la transformation. Un tel principe devrait me permettre de fixer quelques règles de codification du texte et donc, de préciser les termes de l'accord pratiques-textes.

● Source: Pawel Tarasiewicz, “The Common Sense Personalism of St. John Paul II (Karol Wojtyla),” Studia Gilsoniana 3, supplement (2014): 619-634 [ISSN 2300-0066] ● Summary: The article aims at showing that the philosophical personalism of Pope John Paul II (Karol Wojtyla) stems from the common sense approach to reality. First, it presents Karol Wojtyla as a framer of the Lublin Philosophical School, to which he was affiliated for 24 years before being elected Pope John Paul II; it shows Wojtyla’s role in establishing this original philosophical School by his contribution to its endorsement of Thomism, its way of doing philosophy, and its classically understood personalism. Secondly, it identifies a purpose of Wojtyla’s use of the phenomenological method in his personalism and reconstructs Wojtyla’s possible answer to the question whether there is a link between moral sense and common sense in human experience. ● Keywords: Personalism of John Paul II; John Paul II; Karol Wojtyla; Common Sense; Reality; Lublin Philosophical School; Thomism; Philosophy; Personalism; Phenomenological method; Moral sense; Human experience.

Desde la segunda mitad del siglo pasado, los videojuegos se han convertido en una tecnología muy importante hasta convertirse en una gran industria, tanto en el ámbito del entretenimiento, como en las áreas que van más allá de la diversión. En este lapso, los videojuegos han sido utilizados por niños que buscan un rato de esparcimiento, pasando por adolescentes que adoptan estos cibermundos como una cultura y una tendencia, hasta los adultos, como maestros o profesionales que los utilizan con fines propios de su área de conocimiento [1].

El resultado de integrar los videojuegos con fines más allá del puro entretenimiento se ha denominado “videojuego serio”. Los videojuegos serios se suelen aplicar a campos de la sociedad que comprenden: defensa, entrenamiento, salud, educación, religión y política [2]. La industria en general y la academia se han dado cuenta de la importancia que los videojuegos serios pueden tener para la sociedad, dado que estos proveen capacidades de absorción e inmersión que ningún otro tipo de aplicación puede tener [3].

Los videojuegos se han convertido en vehículos de aprendizaje y cultura, que cada día son más usados por más personas, sobre todo aquellos que nacieron en la era de la revolución informática y mediática [4]. Parte de esta revolución ha sido la Web 2.0 [5]. Este avance de las tecnologías de Internet que permite a los usuarios de la Web convertirse en creadores de contenido, está siendo aprovechado por los desarrolladores de videojuegos para llegar a más público con más y mejores contenidos, ya sea para entretenimiento o para que los jugadores experimenten interacciones más significativas [5].

Los videojuegos son una tecnología alternativa que hoy en día se ha integrando con otros tipos de tecnologías de la Web 2.0, como los sitios de redes sociales (SRS). Los SRS presentan un nuevo contexto en el cual los videojuegos permiten a los usuarios interactuar entre sí y comunicarse alrededor de la temática planteada por el mismo videojuego, ésta temática puede ser irreal, imaginaria (mundos, guerras, entre otras), y también puede tener en cuenta un tema de la vida humana (restaurantes, granjas, entre otras).

En este trabajo se les llamará “videojuegos sociales” a los videojuegos que utilizan las características de las herramientas de la Web 2.0. Los videojuegos sociales que utilizan las potencialidades de las herramientas de la Web 2.0, dan nacimiento a nuevas formas de interacción y crean un sinnúmero de grupos de interés a su alrededor, permitiendo la difusión de contenido a través de sus miembros.

La interacción en los videojuegos sociales es una de las características que más sobresale con respecto a otros géneros. Sin embargo, se han encontrado pocas herramientas conceptuales que tengan a la interacción como objetivo principal en el diseño de este tipo de videojuegos. Por tal razón, este trabajo propone un modelo de interacción que permita a los diseñadores y desarrolladores construir videojuegos que potencien la interacción entre los usuarios de una red social en línea sobre un tema de interés social. El propósito de este trabajo es aportar a la disciplina del diseño de videojuegos serios un modelo conceptual que puede ser utilizado para mejorar sus características de interacción, para así convertirlos en videojuegos sociales serios.

El presente documento presenta el trabajo realizado de la siguiente forma: en el Capítulo 1, se presenta el marco teórico, el cual contiene los resultados de la investigación documental, y los modelos y teorías adoptadas como insumos para la creación del modelo. El Capítulo 2, dispone al lector el modelo construido explicando sus apartes y particulares. El Capitulo 3, presenta el proceso de construcción y producción de Planet TB, un videojuego social serio basado en el modelo creado. El Capítulo 4 presenta un estudio estadístico para analizar la interacción entre los usuarios de Planet TB sobre el SRS Facebook . El Capítulo 5 presenta el cumplimiento de objetivos de este proyecto y finalmente, el Capítulo 6 presenta un aparte de conclusiones, recomendaciones y trabajo futuro.

Cultural historians of the volatile early eighteenth century have described the period in various terms: a growing public sphere with new freedoms of expression markedly influencing social discourse; a new culture of social interaction, termed ‘polite society’; religious contention that was first redefined and then resolved within a convention of tolerance; or a politics of party that suffused social and intellectual as well as political debate. These various discourses are frequently mapped against the published works of the period but this paper examines how they played out in reality by exploring the social and intellectual universe of a young diarist. It demonstrates how multiple rhetorics could interact within an individual’s worldview to provide a personal stance which re-interpreted each discourse in turn.

It is believed that repeated exposure to real-life and to entertainment violence may alter cognitive, affective, and behavioral processes, possibly leading to desensitization. The goal of the present study was to determine if there are relationships between real-life and media violence exposure and desensitization as reflected in related characteristics. One hundred fifty fourth and fifth graders completed measures of reallife violence exposure, media violence exposure, empathy, and attitudes towards violence. Regression analyses indicated that only exposure to video game violence was associated with (lower) empathy. Both video game and movie violence exposure were associated with stronger proviolence attitudes. The active nature of playing video games, intense engagement, and the tendency to be translated into fantasy play may explain negative impact, though causality was not investigated in the present design. The samples' relatively low exposure to real-life violence may have limited the identification of relationships. Although difficult to quantify, desensitization to violence should be further studied using related characteristics as in the present study. Individual differences and causal relationships should also be examined. r