On the Periphery of the Artworld. The Case of the 55th Venice Biennale -/- The Venice Biennale is sort of a patent agency for art: if a work is exhibited at the Biennale, it is already regarded as being in the center of the contemporary artworld. This year the peculiarity of the Biennale was the emphasis on peripheral works: outsider art is brought to the center of the artworld. The notion of outsider art (...) is paved with contradictions – it’s difficult to find its place either in traditional art theory, or in avant-garde conceptions. This paper aims at making a parallel between outsider art and the readymade, highlights the similarities and differences, and proposes a new term instead of outsider art: “institutional readymade”. (shrink)

Co-authored research paper written with José Vela Castillo on the subject of Pablo Román's wall of 1,000 images, Vienna, 2013. -/- “Vienna” or “The Wall” is an ongoing project by architect/artist Pablo Román that, upon its completion, will consist of the round number of 1,000 images taped onto an off-white wall. One of the many walls he has designed/produced in the past months (architectural or otherwise), its elementary condition is at the same time enhanced and diminished by its very presence (...) as wall-cum-images, or as images-out-of-a-wall, eroding its foundational condition to a flickering-tele-techno-pixelated spectral apparatus. Its radically modern and outdated presence reconfigures contemporary reflections on what architecture and what the modern is, indirectly referencing “Fundamentals,” the 2014 Venice Architecture Biennale curated by Rem Koolhaas. (shrink)

This paper analyzes Paul of Venice’s theory of measurement of natural properties and changes. The main sections of the paper correspond to Paul’s analysis of the three types of accidental changes, for which the Augustinian philosopher sought to provide rules of measurement. It appears that Paul achieved an original synthesis borrowing from both Parisian and Oxfordian sources. It is also argued that, on top of this theoretical synthesis, Paul managed to elaborate a quite original theory of intensive properties that (...) marks him out not only from the nominalist framework of his Parisian sources but also from the usual realist treatments of the problem. Finally, it is shown that, to a certain extent, Paul undertook to apply the mathematical and logical tools inherited from the Calculatores tradition to empirical problems of natural philosophy, leading to reevaluate his role in the evolution of scientific thought in early 15th-century Italy. (shrink)

This paper focuses on Paul of Venice’s realist theory of direct knowledge. In the second half of the 13th century human knowledge was standardly viewed as a process of abstraction enabling the human intellect to grasp the essences of corporeal things, regardless of the matter in which they are embodied. This process was achieved thanks to the mediation of mental entities (species intelligibiles) representing the dematerialised objects in the intellect. By the late 13th and early 14th centuries, however, some (...) authors began to regard this account as unsatisfactory. These authors held that assuming the existence of mediating species (considered themselves as objects of knowledge) amounts to thinking that between ourselves and the world there is a barrier preventing us from acquiring knowledge of reality in itself. Paul of Venice is aware of the sceptical accusations made against the theory of species in the 13th and 14th centuries. Nevertheless, he is a firm advocate of the existence of species. He claims that knowledge, despite coming about through species, is not indirect. Quite the contrary: we have immediate access to reality, and the individual objects that constitute it, precisely because our senses (which are purely passive) receive impressions direct from outside, thanks to species. He points out that species are not object of knowledge. They are not known at all during the cognitive process, as they are a mere means (a mechanical means, so to say), not an image nor a representation of anything, and therefore they are no obstacle between ourselves and the world. Thus, we are able to know reality exactly as it is in itself and, under ordinary conditions, our perceptions are practically infallible and cannot produce false knowledge. (shrink)

Thomas Mann's "Death in Venice" is a profound fable, delivering a poignant moral lesson: suppressing one's desires can lead to distortion and an unhealthy, obsessive attachment. This, in turn, may trigger frantic and perverse attempts to obtain the initial object of desire. Aschenbach's inability to confront and satisfy his sexual urges ultimately becomes his undoing. This moral framework enables me to delve deeper into Aschenbach's actions, shedding light on the underlying animal instincts that drive his inner struggle. As a (...) character, Aschenbach embodies the archetype of the rational individual who endeavors to govern his primal, carnal urges. However, when his intellectual defenses crumble in the face of his raw desires, the battle between restraint and longing escalates into a whirlwind of uncontrollable actions. These actions catch Aschenbach off guard, and he never anticipated falling victim to them, nor did he mistrust his ability to control them. Paradoxically, he regains a semblance of control through his commitment to literary honor and morality. (shrink)

In his Quadratura, Paul of Venice considers a sophism involving time and tense which appears to show that there is a valid inference which is also invalid. His argument runs as follows: consider this inference concerning some proposition A: A will signify only that everything true will be false, so A will be false. Call this inference B. Then B is valid because the opposite of its conclusion is incompatible with its premise. In accordance with the standard doctrine of (...) ampliation, Paul takes A to be equivalent to 'Everything that is or will be true will be false'. But he proceeds to argue that it is possible that B's premise ('A will signify only that everything true will be false') could be true and its conclusion false, so B is not only valid but also invalid. Thus A and B are the basis of an insoluble. In his Logica Parva, a self-confessedly elementary text aimed at students and not necessarily representing his own view, and in the Quadratura, Paul follows the solution found in the Logica Oxoniensis, which posits an implicit assertion of its own truth in insolubles like B. However, in the treatise on insolubles in his Logica Magna, Paul develops and endorses Swyneshed's solution, which stood out against this ''multiple-meanings'' approach in offering a solution that took insolubles at face value, meaning no more than is explicit in what they say. On this account, insolubles imply their own falsity, and that is why, in so falsifying themselves, they are false. We consider how both types of solution apply to B and how they complement each other. On both, B is valid. But on one (following Swyneshed), B has true premises and false conclusion, and contradictories can be false together; on the other (following the Logica Oxoniensis), the counterexample is rejected. (shrink)

This photo album contains images from a trip to the fabulous cities of Florence, Venice and Pisa, in a visit I made to Italy in June 2006 with the occasion of an international scientific conference on FUSION. -/- A travel journal (in Romanian) extensively narrates this visit: SMARANDACHE, FLORENTIN. Frate cu meridianele şi paralelele (note de călătorie), vol. 4. Râmnicu Vâlcea (Romania): Offsetcolor, 2004.

In their pioneering, masterly research and survey on Bartolomeo Fonzio’s manuscripts, published in 1974, Stefano Caroti and Stefano Zamponi informed the reader that the Ms. Ricc. 152 of the Riccardiana Library in Florence was a huge amount of notebooks with notes taken by Fonzio while attending the Studium in Florence. Among them Caroti and Zamponi called the reader’s attention to the notes Fonzio took when he went to Argyropoulos’ lessons on the Posterior Analytics. In this essay the reader finds a (...) transcription of those notes, preceded by some comments on the sources from which the outstanding commentator is likely to have drawn and which can be picked out from the fragmentary notes, that is John Philoponus and Paul of Venice. (shrink)

This contribution addresses issues of interpretation and translation in Derrida’s reading of Shakespeare’s Merchant of Venice in relation to the supposed opposition of the letter and the spirit of the law. Rather than supporting a supersession of the law’s letter in favor of its spirit and advocating a sublation of the law by means of mercy, as a traditional reading suggests, this essay’s reading of Shakespeare’s play suggests that it deconstructs the underlying opposition. By linking the insistence on “the (...) letter of the law” not to a kind of literalism or blind compliance with the law, but instead to an insistence on the textuality of the law, such a reading elucidates the law’s need for interpretation and highlights how the attempt to surpass the letter of the law involves a threat of a fundamental injustice. (shrink)

Multiculturalism is not new concept Multiple cultures existed in Europe and Asia during the mediaeval period. The multicultural societies of Baghdad, Florence, and Venice played an essential role in the spread of knowledge and science. The knowledge transmitted from the House of Wisdom in Baghdad reached the multicultural societies of Venice and Florence. The Multiculturalism of Venice and Florence played an essential role in the emergence of the Renaissance in Europe. Multiculturalism became a crucial political concept in (...) the 20th century with the spread of democracy. In the post-World War II world, when the democratic system of governance spread as a universally accepted system of governance, the question of demand for political rights of multiculturalist groups and adjustment with the existing system arose. There was a massive increase in migration for various reasons, which also gave rise to many other political problems. Multiculturalism and migration got adequate space in Modood's political literature. He presented its socio-political analysis. In discussing the interrelationships between Multiculturalism and liberalism, the question of adjustment of many cultures in relatively less liberal systems provides an alternative perspective to understanding Multiculturalism through migration. -/- . (shrink)

In _Deaths in Venice_ Philip Kitcher explores the bearing that _Death in Venice_ by Thomas Mann may have on 'the oldest and deepest question of philosophy: _how to live_'. In this paper, I will distinguish two ways in which this question can be interpreted. One one reading, it amounts to the question 'how to lead a valuable or worthy life?', whereas on the other it involves a more elusive idea, namely, that a person may breath and walk and still be (...) dead in a relevant sense, that is, from the perspectivo in which being alive does not reduce to biological survival. In my view, Kitcher's reflection on Mann's novella relies on the first, more standard reading. I argue, though, that the being-alive interpretation sheds a more unified light on _Death in Venice_; in fact, I will conclude that the need to shift from one to another interpretation constitutes a fundamental concern in the novella. (shrink)

A discussion of the way the visual artists represented in Adelaide’s 2012 Biennale draw attention to new conceptions of place, time and self which highlight the contingent nature of the narratives that underlie our day to day existence. Disenchantment or re-enchantment are increasingly redundant conceptions. Such narratives are always fluid. Among the ebbs and flows, new conceptions emerge, providing in effect new ways of being in the world, and in turn prompting a reshuffling of what we thought we knew.

Standing in San Marco Cathedral in Venice, you immediately notice the exquisitely decorated spandrels: the triangular spaces bounded on either side by adjoining arches and by the dome above. You would be forgiven for seeing them as the starting point from which to understand the surrounding architecture. To do so would, however, be a mistake. It is a similar mistaken inference that evolutionary biologists have been accused of making in assuming a special adaptive purpose for such biological features as (...) fingerprints and chins. I argue that a mistake of just this sort is being made by ethicists who appeal to the intrinsic value of supererogatory acts in their efforts to make space for supererogation in ethical theory. Many cases of supererogatory action are simply spandrels: by-products of uncontroversial commitments elsewhere in our moral thought. This is not to downplay their value but rather to show that their value need not be the justification for making room for the supererogatory. I demonstrate this by examining two areas: rights and the distribution of burdens among a group. My argument has significance for those who take themselves to be defends of the possibility of supererogatory actions, as well as those who are committed to the contrary and those who believe themselves to be indifferent on the matter. (shrink)

Diaristic, mixed notes on: John Ruskin's The Poetry of Architecture (1837) and Modern Painters (1885); Caravaggio, Victorian Aesthetes, G.K. Chesterton, and Tacita Dean; Jay Fellows' Ruskin’s Maze: Mastery and Madness in His Art (1981); Slavoj Žižek at Jack Tilton Gallery, New York, New York, USA, April 23, 2009, “Architectural Parallax: Spandrels and Other Phenomena of Class Struggle”; “Titian, Tintoretto, Veronese: Rivals in Renaissance Venice”, Museum of Fine Arts, Boston, Massachusetts, USA, March 15-August 16, 2009; Janet Harbord, Chris Marker: La (...) Jetée (2009); The Politics of the Envelope, Princeton Envelope Group (PEG), ARC504, Princeton School of Architecture, Princeton, New Jersey, USA, Friday, May 8, 2009; Rhode Island School of Design, Degree Project Reviews, Division of Architecture & Design, Providence, Rhode Island, USA, May 16, 2009; etc. (shrink)

Roger Swyneshed, in his treatise on insolubles (logical paradoxes), dating from the early 1330s, drew three notorious corollaries of his solution. The third states that there is a contradictory pair of propositions both of which are false. This appears to contradict the Rule of Contradictory Pairs, which requires that in every such pair, one must be true and the other false. Looking back at Aristotle's treatise De Interpretatione, we find that Aristotle himself, immediately after defining the notion of a contradictory (...) pair, gave counterexamples to the rule. Thus Swyneshed's solution to the logical paradoxes is not contrary to Aristotle's teaching, as many of Swyneshed's contemporaries claimed. Dialetheism, the contemporary claim that some propositions are both true and false, is wedded to the Rule, and in consequence divorces denial from the assertion of the contradictory negation. (shrink)

Se examina la defensa que de la filosofía en cuanto episteme, elaboró el aristotélico renacentista Cesare Cremonini (1550-1 631), al introducir el curso de lecciones sobre la Física de Aristóteles, según la redacci6n todavía inédita del Ms.200-2 de la Biblioteca Universitaria de Padua. Mediante un topos ya clásico, y actual, los temas en discusión son además de la falta de certitudo y la inconsistencia veritativa que afectan las conclusiones de la filosofía de la naturaleza, la inutilidad e incluso la peligrosidad (...) que, desde el punto de vista ético- político, parecen descalificar la labor del filósofo ociosamente levantar sospechas y alarma. La interpretación de la réplica cremoniniana intenta establecer conexiones entre el perfil conceptual de los argumentos esgrimidos, y algunos episodios de la biografía intelectual y académica de Crernonini sin dejar de tomar en cuenca las implicaciones políticas que pueden derivarse, en perspectiva histórica, del amplio debate que caracterizó la vida académica y cultural del estudio de Padua y de la república veneciana, durante la segunda mitad del siglo XVI.The defence of philosophy as episteme is examined, as elaborated by Renaissance Aristotelian philosopher Cesare Cremonini (1550 - 1 631) in his as yet unpublished manuscript numbered 200-2 by t he University of Padua. Which purported to be an introduction for a course on Aristotle's Physics. Following a topos both classic and contemporary, the issues arc, in addition to the lack of certitudet and the inconsistency of truth concerning the philosophy of nature. The uselessness and even the ethical-political danger arising from the work of the idle philosopher devoted to the contemplation of truth, whose presence in society may stir suspicion and unrest. The analysis of Cremonini’s arguments intends to establish the connections between the philosopher's views and his own academic and intellectual circumstances. Also the political implications are taken into account that resulted from the wide-range debate typical of academic and cultural life in the Studio of Padua and the Republic of Venice during the second half of the 16th Century. (shrink)

This paper focuses on the early sixteenth-century epistemic logic developed by John Mair’s circle and discusses iterated epistemic modalities, epistemic closure and Bradwardinian semantics related to the logic of epistemic statements. These topics are addressed as part of setting up and solving epistemic sophisms based on traditional scenarios which can be traced back to fourteenth-century British epistemic logic. While the ultimate source for the debate appears to be the second chapter of William Heytesbury’s Regule solvendi sophismata, the immediate source is (...) the Italian editorial, commentarial and philosophical tradition, notably Paul of Venice and Cajetan of Thiene. (shrink)

Paolo Barbò da Soncino conosciuto anche come il „Soncinas" (Soncinate) fu un domenicano italiano, filosofo e teologo tomista. Visse durante il periodo del rinascimento italiano nel XV secolo tra Bologna e Milano, morto a Cremona nel 1495. La suo apiù importante opera è proprio il commento alla Metafisica di Aristotele (Acutissimae quaestiones metaphysicales, 1 ed. Venezia 1498) che rappresenta una particolare sintesi del commentatore arabo Averrè, Tommaso d'Aquino, Erveo Natale († 1323) e Giovanni Capreolo († 1444). L'opera filosofica del Soncinate (...) era spesso discusso tra il XVI e XVII secolo. Il libro offre la prima biografia scientifica dell'autore in italiano, e l'edizione critica del suo commento al IV libro della Metafica di Aristotele in latino. -/- Paolo Barbò da Soncino called "Soncinas" was an Italian Dominican, Thomist philosopher and theologian. His life and work fall within the ambit of Italian Renaissance Thomism of the fifteenth century, between Bologna and Milano, died in 1495 in Cremona. His principal work, the exposition of Aristotle's Metaphysics, (Acutissimae quaestiones metaphysicales 1 ed. Venice 1498) proceeds from a particular synthesis of the Arabic commentator Averroes, Thomas Aquinas, Hervaeus Natalis (d. 1323), and John Capreolus (d. 1444). Soncinas' work and position were frequently discussed from the sixteenth to the seventeenth century. This study offers the first scientific biography, description and analysis of the method, sources and doctrine of Soncinas, in particular the critical Latin edition of the 4th book of his Acutissimae Quaestiones Metaphysicales (the exposition of Aristotle's Metaphysics). (shrink)

Review of an exhibition held at Ca' Pisani, Venice, Italy, May 28-July 7, 2022.

The production of artworks can be based on a fixed modus operandi, i.e., on a general manner and, alongside, specific patterns to be applied all over again. Alternatively, each artwork can be seen as (cor-)responding to an individual problem for which there is no recipe; in this case it needs to be looked at afresh. That approach characterizes the aesthetics of music composer Isabel Mundry (*1963); her art, ever unpredictable, is one of nuances.