This paper is written on the occasion of the celebration of the gift of femininity. In this paper, I argue philosophically, as to what may be taken as a framework for what it means to be a female. While I am aware of the various attendant positions and orientations that are wont to accompany such a discussion, I maintain that a female is essentially, a human being with certain biological configurations, and other cultural descriptions. While this definition may be reductionist (...) at first approximation, the fact that the female is a human being means that the female is, in the words of Battista Mondin, a bundle of possibilities that can neither be understood in entirety, or reduced to a definite range. -/- Ce papier est écrit à l'occasion de la célébration du don de la féminité. Dans cet article, je discute philosophiquement de ce qui peut être considéré comme un cadre pour ce que signifie être une femme. Bien que je sois conscient des différentes positions et orientations qui accompagnent habituellement une telle discussion, je maintiens qu'une femme est essentiellement un être humain avec certaines configurations biologiques et d'autres descriptions culturelles. Bien que cette définition puisse être réductionniste en première approximation, le fait que la femme soit un être humain signifie que la femme est, selon les mots de Battista Mondin, un faisceau de possibilités qui ne peuvent ni être comprises dans leur intégralité, ni réduites à une gamme définie. (shrink)

The author publishes the initial fragment of an unknown treatise by Leon Battista Alberti on the casting of statues written around 1455 and preserved in cod. Ottob. lat. 1870. The fragment contains a discussion on the nature of light and the element of fire.

La fantasia popolare è stata sempre affascinata dalla possibilità che tra le pagine di antichi manoscritti si celassero arcani segreti, la cui rivelazione potesse conferire poteri occulti. Libri costati enormi sacrifici, che erano stati per i loro autori una ragione di vita e, al tempo stesso, la fonte di mille pericoli. La “Magia Naturalis” di Giovan Battista Della Porta fu uno dei testi più diffusi fra XVI e XVII secolo. Attorno ad esso ruotò per decenni un ampio dibattito, che (...) spaziava dalla magia alla scienza, dalla filosofia alla teologia. -/- Popular imagination has always been fascinated by the possibility that arcane secrets were hidden among the pages of ancient manuscripts, the revelation of which could confer occult powers. Books that required enormous sacrifices, which had been a reason for living for their authors and, at the same time, the source of a thousand dangers. Giovan Battista Della Porta's “Magia Naturalis” was one of the most widespread texts between the 16th and 17th centuries. A wide debate revolved around it for decades, ranging from magic to science, from philosophy to theology. (shrink)

Una riflessione, a 400 anni dalla morte di Giovan Battista Della Porta Napoletano, uno dei grandi geni del Rinascimento.

The Renaissance architect, moral philosopher, cryptographer, mathematician, Papal adviser, painter, city planner and land surveyor Leon Battista Alberti provided the theoretical foundations of modern perspective geometry. Alberti’s work on perspective exerted a powerful influence on painters of the stature of Albrecht Dürer, Leonardo da Vinci and Piero della Francesca. But his Della pittura of 1435–36 contains also a hitherto unrecognized ontology of pictorial projection. We sketch this ontology, and show how it can be generalized to apply to representative devices (...) in general, including maps and spatial and non-spatial databases. (shrink)

This essay develops a critical interpretation of Gadamer’s account of Renaissance painting. My point of departure is a brief reference in Truth and Method to Leon Battista Alberti, the Italian Renaissance humanist who developed an influential mathematical theory of perspective in painting. Through an explication of Gadamer’s critique of Alberti and of perspective generally, I argue that what is ultimately at stake in Gadamer’s confrontation with Alberti is Gadamer’s opposition to relativism and subjectivism and his downgrading of the importance (...) of the artistic medium for evaluating the truth-claim of an artwork. Against the theory of perspective, Gadamer contends that artworks make substantive claims to truth to which we interpretatively respond. By emphasizing this theme, our discussion resonates with contemporary “hermeneutical realism.”. (shrink)

The fascinating Journey of the Renaissance Medicine.

Un viaggio nell'arte medica del Rinascimento.

This is a review of Survey of the State of the Art in Human Language Technology, [editorial board: Ronald Cole (editor-in-chief), Joseph Mariani, Hans Uszkoreit, Annie Zaenen, Victor Zue], Cambridge University Press (Studies in Natural Language Processing) and Giardini Editori e Stampatori in Pisa (Linguistica Computazionale, volumes XII-XII1), managing editors: Giovanni Battista Varile and Antonio Zampolli, Cambridge University Press, 1997.