The global surface roughness of 25143 Itokawa Susorney, Hannah C.M.; Johnson, Catherine L.; Barnouin, Olivier S. ...
Icarus (New York, N.Y. 1962),
June 2019, 2019-06-00, Letnik:
325
Journal Article
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Surface roughness is an important metric in understanding how the geologic history of an asteroid affects its small-scale topography and it provides an additional means to quantitatively compare one ...asteroid with another. In this study, we report the first detailed global surface roughness maps of 25143 Itokawa at horizontal scales from 8–32 m. Comparison of the spatial distribution of the surface roughness of Itokawa with 433 Eros, the other asteroid for which this kind of analysis has been possible, indicates that the two asteroids are dominated by different geologic processes. On Itokawa, the surface roughness reflects the results of down-slope activity that moves fine grained material into geopotential lows and leaves large blocks in geopotential highs. On 433 Eros, the surface roughness is controlled by geologically-recent large impact craters. In addition, large longitudinal spatial variations of surface roughness could impact the role of YORP on Itokawa.
•We measured the global surface roughness of 25143 Itokawa.•We found that the Hurst exponent is different from Eros and may be due to sub-surface structure.•Itokawa has large longitudinal surface roughness variations that may contribute to YORP on Itokawa.
el artículo se propone una reflexión sobre las relaciones del amor con lo público, y la complejidad de distinguir lo auténtico de lo ficticio, especialmente cuando pensamos la belleza. Se trata de ...mostrar que la autenticidad de lo que se es, es lo que se siente de sí mismo, la expresión y el reconocimiento. En el Eros digital estas experiencias han ganado un espacio importante de libertad y expresión
The article proposes a reflection on the relations of love with the public, and thecomplexity of distinguishing the authentic from the fictitious, especially when we thinkof beauty. It is about showing that the authenticity of what one is, is what one feelsabout himself, the expression and the recognition. In the digital Eros these experienceshave gained an important space of freedom and expression.
La aceptación de la identidad de la Idea del Bien con lo Uno no necesariamente implica, como recentemente ha sostenido Gerson (2019), que Platón y Plotino comparten esa identificación en los mismos ...términos. Para insistir en esta diferencia me apoyo en un argumento gnoseológico. Si bien ambos filósofos sostienen la posibilidad de acceder a una presencia en el principio y para describirla recurren a una metáfora erótica, para Platón esa presencia implica la realización plena del Nous en la aprehensión noética del Bien y la generación de episteme, mientras que para Plotino implica el recogimiento no solo de la intelección, sino del deseo mismo de inteligir para acceder a una presencia superior a la episteme. Consecuentemente, Platón concibe al Bien/Uno como Idea – como Idea de Ideas - y cúspide del ser y lo inteligible, mientras que Plotino lo concibe como aneideon, amorfon y apeiron, y, por ende, como radicalmente transcendente al ser y al pensar.
Machiavelli, like other Renaissance authors, weaved philosophy into works of fiction, attacking the notion attributed to Plato’s Diotima that love (eros) is philosophy’s partner. Under veiled ...criticism, presented in four comic texts bound together by the theme of love, Machiavelli delivers his criticism of Diotima’s eros. He joins a long line of astute manipulators, like Numa and Savonarola, who presented difficult ideas to people unlikely to accept them except under cover of divine authority. My essay rests on the expanding body of scholarship on Machiavelli’s neglected literary works.
De Eros ao ciborgue Daniel Alves Gilly de Miranda; Juliana de Moraes Monteiro
Artefilosofia,
09/2020, Letnik:
15, Številka:
29
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O artigo propõe a formulação de questões sobre a relação entre a filosofia, o conhecimento e o feminino que orbitam a obra de Walter Benjamin como um todo, assim como a de seus interlocutores e ...interlocutoras. Propomos um caminho que atravessa os seus primeiros escritos sobre a natureza masculina e fálica do conhecimento socrático, assim como do conhecimento científico instrumental, até os seus escritos tardios, que propõem uma filosofia da arte que questiona, como dá a ver a sua leitura por Buck-Morss, os pressupostos masculinos subjacentes aos principais mitos fundadores da Estética enquanto disciplina filosófica moderna. A partir de suas reflexões sobre materialismo, arte e corpo humano, relacionamos a estética benjaminiana a um esforço de pensar novas relações entre natureza e cultura fora do imperativo de dominação que caracteriza o conhecimento instrumental masculino e a função social que a arte ocupa para este. É neste sentido também que articulamos uma aproximação entre a necessidade de pensar o aparelho sensorial humano no atravessamento com a tecnologia e a cultura, fundamento da estética de Walter Benjamin, e o ensaio "Manifesto ciborgue", de Donna Haraway, no qual a autora propõe uma politização do feminismo a partir de uma imagem que recusa qualquer matriz identitária natural e para a qual nenhuma construção é uma totalidade.
On oppose sublimation « d’exception », productrice de biens culturels (quelle qu’en soit la qualité), et sublimation ordinaire, sans production particulière, mais préservant le plaisir du sujet dans ...la vie quotidienne. Si la première peut avoir partie liée avec l’excès économique et la pulsion de mort, la seconde se place d’emblée sous l’égide du principe de plaisir. Toutefois l’articulation de ces deux formes de sublimation, pourtant décisive, s’avère souvent délicate. Certains créateurs ont recours au clivage fonctionnel, maintenant leur conviction de toute-puissance dans le registre de la sublimation d’exception et du travail de l’œuvre, mais limitant ses effets dans le registre du quotidien et de la sublimation ordinaire. Pourtant, cette « solution » ne permet pas la prise en compte de la castration. Shakespeare le montre quand, à la fin de La tempête, Prospero l’alchimiste sacrifie son savoir civilisateur sur l’autel de la transmission, relançant alors son appétence sublimatoire.
Cet article cherche à montrer, à partir d’une lecture serrée de Le moi et le ça, l’actualité de l’hypothèse freudienne de 1923 sur la sublimation intrinsèquement contradictoire, entre réussite d’une ...opération de transformation salvatrice de la libido et risque corollaire de déliaison entre Éros et pulsion de mort. Il souligne la grande différence entre la définition précise de la sublimation comme métamorphose du polymorphisme sexuel infantile en polymorphisme artistique et littéraire, et sa définition comme simple désexualisation, laquelle évolue facilement en désublimation dépressive. Lorsque le refoulement ne suffit plus, un clivage apparaît, on tient peut-être là un état limite de la névrose : on peut faire l’hypothèse qu’une vague hallucinatoire menace le moi et appelle un recours à la sublimation comme solution d’urgence. Clivage ou sublimation, telle est alors la question. Des exemples littéraires classiques (Hugo, Breton, Aragon, Gracq) illustrent cette hypothèse – laquelle éclaire aussi les antisublimations modernes, en particulier certaines tendances de l’art contemporain et des contre-cultures adolescentes, pour lesquelles la déliaison est une valeur. D’autres formes de création suggèrent des issues plus positives, où la contradiction entre les pulsions et l’esthétique du sublime est moins tendue.
De la gitane, Amica, qui séduit François, dans Le torrent, au danseur noir Jean-Ephrem de la Tour, dans Un habit de lumière, en passant par le docteur Nelson qui bouleverse la vie d’Élisabeth ...d’Aulnières dans Kamouraska et Stevens Brown accusé de meurtre dans Les fous de bassan, l’Autre est une figure qui hante l’œuvre entière d’Anne Hébert. Aussi l’objectif de cet article est-il dans un premier temps de repérer les diverses manifestions de l’altérité afin d’en dégager les formes récurrentes. Ensuite, la signification de la figure omniprésente de l’Autre retiendra notre attention. Le personnage Autre, sous la plume d’une auteure québécoise, met-il au jour les désirs cachés, inavoués d’un individu ou d’une société? Quel est au fond sa puissance symbolique et sa fonction de révélation?
The article deals with the attitude to the problem of gender in the first decades of the existence of the Soviet Republic – the position of the party (the Bolshevik project) and the utopian project ...of A. Bogdanov. Concepts have both similarities and differences. Both are based on the idea that it is possible to solve the problem only as a result of a change in the political system and the coming to power of the working masses and emphasizes the importance of labor and the principles of collectivism in the society being created. The project of A. Bogdanov is built on the basis of organizational theory, which is the basis of the society of the future, where social life is built on a strictly scientific basis. A special role is given to the organizational culture that forms a new person. The party position is based on the Marxist theory of gender and presupposes party control of all aspects of life, the subordination of personal interests to class interests, and the ideology of male superiority takes the form of constitutional or proclaimed equality.
In this article, we respond to Emma Bell and Amanda Sinclair’s call for reclaiming eros as non-commodified energy that drives academic work. Taking our point of entry from institutional ethnography ...and the standpoint of junior female academics, we highlight the ambiguity experienced in the neoliberal university in relation to its constructions of potential. We elucidate how potential becomes gendered in and through discourses of passion and care: how epistemic and material detachment from the local is framed as potential and how masculinized passion directs academics to do what counts, while feminized and locally bound care is institutionally appreciated only as far as it supports individualized passion. The way passion and care shape the practices of academic writing and organize the ruling relations of potentiality are challenged through eros, an uncontrollable and un-cooptable energy and longing, which becomes a threat to the gendered neoliberal university and a source of resistance to it. By distinguishing between passion, care, and eros, our institutional ethnography inquiry helps to make sense of the conformity and resistance that characterize the ambiguous experience of today’s academics.
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