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Living Systems: An Introductory Guide to the Theories of Humberto Maturana and Francisco Varela, introduces the thinking of the two great Chilean biologists. Written to make their body of work more accessible for both academic and non-academic readers, topics include the ontology of the observer, the operation of living systems, living systems and the environment, the construction of worlds and the constitution of cultures (the patriarchal and an alternative, a matristic culture).

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En el tercer poema de Concierto animal (1999), de Blanca Varela, un verso -que bien puede ser imputado a la extrema banalidad, al lugar común, a una osada indiferencia retórica- logra lo imposible, permite "observar el extraño (y maravilloso) espectáculo de un poema convirtiéndose en lo que es". El verso "[.] el más crudo invierno" -cuya nula celebridad "poética" lo identifica entre las frases más trilladas de nuestra lengua, como "la infinita noche" y "el tormentoso mar"- ha producido este acontecimiento. Que así ocurra, intriga. páginas/pasges

Desague Varela (IMPORT) Varela Desague - CD 888750060822

Living Systems: An Introductory Guide to the Theories of Humberto Maturana and Francisco Varela, introduces the thinking of the two great Chilean biologists. Written to make their body of work more accessible for both academic and non-academic readers, topics include the ontology of the observer, the operation of living systems, living systems and the environment, the construction of worlds and the constitution of cultures (the patriarchal and an alternative, a matristic culture).

This is a bold, brilliant, provocative and puzzling work. It demands a radical shift in standpoint, an almost paradoxical posture in which living systems are described in terms of what lies outside the domain of descriptions. Professor Humberto Maturana, with his colleague Francisco Varela, have undertaken the construction of a systematic theoretical biology which attempts to define living systems not as they are objects of observation and description, nor even as in­ teracting systems, but as self-contained unities whose only reference is to them­ selves. Thus, the standpoint of description of such unities from the 'outside', i. e. , by an observer, already seems to violate the fundamental requirement which Maturana and Varela posit for the characterization of such system- namely, that they are autonomous, self-referring and self-constructing closed systems - in short, autopoietic systems in their terms. Yet, on the basis of such a conceptual method, and such a theory of living systems, Maturana goes on to define cognition as a biological phenomenon; as, in effect, the very nature of all living systems. And on this basis, to generate the very domains of interac­ tion among such systems which constitute language, description and thinking.

Este libro presenta la obra de Gustavo Lopez Armentia, artista autodidacta cuya obra expresa un profundo humanismo, original y honda sensibilidad. Las obras de este artista integran las colecciones de museos de Argentina, Brasil, Cuba, Mexico, Ecuador. El texto de Gaston Varela ensaya una interpretacion posible de la posicion particular que, ante la creacion del mundo, asume Lopez Armentia y procura entender las motivaciones del artista. Los trabajos que se reproducen en el libro abarcan mas de dos decadas de labor artistica. Bibliografia. Edicion bilingüe español-ingles.

This is a bold, brilliant, provocative and puzzling work. It demands a radical shift in standpoint, an almost paradoxical posture in which living systems are described in terms of what lies outside the domain of descriptions. Professor Humberto Maturana, with his colleague Francisco Varela, have undertaken the construction of a systematic theoretical biology which attempts to define living systems not as they are objects of observation and description, nor even as in­ teracting systems, but as self-contained unities whose only reference is to them­ selves. Thus, the standpoint of description of such unities from the 'outside', i. e. , by an observer, already seems to violate the fundamental requirement which Maturana and Varela posit for the characterization of such system- namely, that they are autonomous, self-referring and self-constructing closed systems - in short, autopoietic systems in their terms. Yet, on the basis of such a conceptual method, and such a theory of living systems, Maturana goes on to define cognition as a biological phenomenon; as, in effect, the very nature of all living systems. And on this basis, to generate the very domains of interac­ tion among such systems which constitute language, description and thinking.

This is a bold, brilliant, provocative and puzzling work. It demands a radical shift in standpoint, an almost paradoxical posture in which living systems are described in terms of what lies outside the domain of descriptions. Professor Humberto Maturana, with his colleague Francisco Varela, have undertaken the construction of a systematic theoretical biology which attempts to define living systems not as they are objects of observation and description, nor even as in­ teracting systems, but as self-contained unities whose only reference is to them­ selves. Thus, the standpoint of description of such unities from the 'outside', i. e. , by an observer, already seems to violate the fundamental requirement which Maturana and Varela posit for the characterization of such system- namely, that they are autonomous, self-referring and self-constructing closed systems - in short, autopoietic systems in their terms. Yet, on the basis of such a conceptual method, and such a theory of living systems, Maturana goes on to define cognition as a biological phenomenon; as, in effect, the very nature of all living systems. And on this basis, to generate the very domains of interac­ tion among such systems which constitute language, description and thinking.

Athanasius Kircher (1602-1680), considered the ultimate universal erudite, created in 1651, in the space of the Crociera of the Collegio Romano his famous museum of the world, which soon became a must-see place in Baroque Rome. Four centuries later, the artist Cybèle Varela has decided to pay tribute to this incredibly inventive and inspirational figure, with the exhibition Ad Sidera, per Athanasius Kircher, presented in the same place where Kircher had his museum, which is today Rome's Library of archaeology and art history annex. An artist of international standing, Varela has exhibited widely across Europe and the Americas and her work is part of relevant museum collections around the world. In this exhibition she shows Pop-surrealist paintings, photographs, books, and a reformulated version of the obelisk designed by Kircher and dedicated to Christina of Sweden and afterwards to Clement IX. This catalogue accompanies the exhibition and contains essays by leading historians, highlighting aspects of Kircher's personality and work relating them to the artist's creations, together with a text by Varela in which the buccaneer Captain Meraviglia, an amusing character invented by the artist, makes his first appearance in Kircher's theatre of the world. Contributors: Maurizio Fallace, Peter-Hans Kolvenbach S.J., Paolo Portoghesi, Eugenio Lo Sardo, Francesco Sisinni, Mauro Giancaspro, Cybèle Varela, Alessandro Orlandi, Enrico Salvatore Anselmi and Ariane Varela Braga.

I explore the ideas of thinkers like Alfred North Whitehead, Francisco Varela, Jean Gebser, William Irwin Thompson, and Alf Hornborg in an attempt to critique both techno-industrial capitalism and mechanistic biology. I offer the beginnings of an integral response to market cosmology.

flute or violin and piano Arrangement for flute (or violin) and piano by Dmitriy Varelas. Bordel 1900:>The tango was born in Buenos-Aires in 1882. It was first played on the guitar and the flute. The piano was added later, followed by the bandoneon. It is music full of charm and vivacity, that gives the impression of the good spirits and volubility of the French, Italian and Spanish women who lived in these brothels, enticing the policemen, thieves, sailors and hoodlums who visited them. The tango is cheerful. Café 1930:>This is a different era of the tango. People no longer danced to it, as in the 1900s and became satisfied by just listening, which allowed for a more musical and romantic evolution. This was a radical transformation. The tango became slower, more melancholic, and incorporated new harmonies. Tango orchestras were made up of two violins, two bandoneons, a piano and a double bass. Sometimes it was sung. Night-club 1960:>A new evolution was witnessed during this period, in which international exchange increased considerably. Brazil and Argentina met in Buenos-Aires - bossa nova and the new tango were ""same battle"". The public flocked to the nightclubs to listen earnestly to the new tango - a revolution and profound disruption of certain forms of old tango. Concert d'aujourd'hui: >Certain concepts join tango music with contemporary music, such as recollections by Bartok, Stravinsky and several others on a tango base. This is today's tango, the tango of the future... Bordel 1900 - Café 1930 - Night-club 1960 - Concert d'aujourd'hui

Este libro presenta la obra de Gustavo Lopez Armentia, artista autodidacta cuya obra expresa un profundo humanismo, original y honda sensibilidad. Las obras de este artista integran las colecciones de museos de Argentina, Brasil, Cuba, Mexico, Ecuador. El texto de Gaston Varela ensaya una interpretacion posible de la posicion particular que, ante la creacion del mundo, asume Lopez Armentia y procura entender las motivaciones del artista. Los trabajos que se reproducen en el libro abarcan mas de dos decadas de labor artistica. Bibliografia. Edicion bilingüe español-ingles.

La reflexión sobre los rasgos psicosociales del cubano fue una constante en las obras de los ideólogos criollos del siglo XIX marcadas por la pretensión de alcanzar un mejoramiento social. En la primera mitad de dicho siglo Félix Varela, José Antonio Saco, José de la Luz y Caballero y Domingo del Monte tuvieron un significativo interés por esta cuestión. La Memoria sobre la vagancia en Cuba, es ejemplo de esta línea del pensamiento insular.

Jennings, Sharon, Bourgeois, Paulette, Lopez Varela, Alejandra

: Una obra para pensar y reflexionar sobre quiénes somos y la importancia e influencia que hemos tenido en la Historia. José Varela Ortega realiza en esta obra una apasionada defensa de España y de sus múltiples valores. Y lo hace desde varios campos: la filosofía, la literatura, el cine o el arte.Analiza la imagen de nuestro país en el extranjero a lo largo de la historia y explica cómo se fue forjando de forma premeditada nuestra leyenda negra, pero resalta que también hubo una época de admiración hacia nuestro país y que, normalmente, se obvia desde España.Es cierto que la imagen de España ha sido distorsionada por los estereotipos y la mirada del otro, pero también por los propios españoles.Sin embargo, nuestra historia es más rica y respetada de lo que a la mayoría nos han hecho creer, y a ello dedica Varela gran parte de su texto, sin dejar de abordar cuestiones controvertidas como la conquista de América, la polémica obra de Bartolomé de las Casas, la piratería como ataque a las conquistas españolas, el mito de los Tercios de Flandes o la Inquisición.Un minucioso trabajo de veinte años que muestra la admiración que se sintió por nuestro país y, al mismo tiempo, el odio y la envidia que despertamos en el mundo entero. - EAN: 9788467056662 Tipo: Libros Categoría: Sociedad y cultura (Libros) Título: España. Un Relato de Grandeza y Odio: entre la Realidad de la Imagen y la de los Hechos Autor: Varela Ortega, José Editorial: Planeta Idioma: ES Páginas: 1088 Peso: 1700

flute or violin and piano Arrangement for flute (or violin) and piano by Dmitriy Varelas. Bordel 1900:>The tango was born in Buenos-Aires in 1882. It was first played on the guitar and the flute. The piano was added later, followed by the bandoneon. It is music full of charm and vivacity, that gives the impression of the good spirits and volubility of the French, Italian and Spanish women who lived in these brothels, enticing the policemen, thieves, sailors and hoodlums who visited them. The tango is cheerful. Café 1930:>This is a different era of the tango. People no longer danced to it, as in the 1900s and became satisfied by just listening, which allowed for a more musical and romantic evolution. This was a radical transformation. The tango became slower, more melancholic, and incorporated new harmonies. Tango orchestras were made up of two violins, two bandoneons, a piano and a double bass. Sometimes it was sung. Night-club 1960:>A new evolution was witnessed during this period, in which international exchange increased considerably. Brazil and Argentina met in Buenos-Aires - bossa nova and the new tango were ""same battle"". The public flocked to the nightclubs to listen earnestly to the new tango - a revolution and profound disruption of certain forms of old tango. Concert d'aujourd'hui: >Certain concepts join tango music with contemporary music, such as recollections by Bartok, Stravinsky and several others on a tango base. This is today's tango, the tango of the future... Bordel 1900 - Café 1930 - Night-club 1960 - Concert d'aujourd'hui

In Animal Rites, Cary Wolfe examines contemporary notions of humanism and ethics by reconstructing a little known but crucial underground tradition of theorizing the animal from Wittgenstein, Cavell, and Lyotard to Lévinas, Derrida, Žižek, Maturana, and Varela. Through detailed readings of how discourses of race, sexuality, colonialism, and animality interact in twentieth-century American culture, Wolfe explores what it means, in theory and critical practice, to take seriously "the question of the animal."