‘Reasoning’ can be considered a general concept that, upon speaking, is the ‘enraonar’, a Catalan word that should not be mistaken with ‘explain’ nor with ‘discuss’ which imply more detail, and cover different situations. This article is presented as an essay on the ancient ideal of ‘enraonar’. To that end, it is explained in what sense ‘enraonar’ and reason are one of the most complex phenomena thought has to deal with. Here it is argued that these natural phenomena require a (...) systematic and ‘scientific’ study, and that withoutthis knowledge computer science cannot simulate people’s every-day ‘enraonar’. (shrink)

Enric F. Gel has recently argued that classical theism enjoys a significant advantage over Graham Oppy's naturalism. According to Gel, classical theism – unlike Oppy's naturalism – satisfactorily answers two questions: first, how many first causes are there, and second, why is it that number rather than another? In this article, I reply to Gel's argument for classical theism's advantage over Oppy's naturalism. I also draw out wider implications of my investigation for the gap problem and Christian doctrine along (...) the way. (shrink)

Departing from the intention to explore Frank Gehry’s drawings serving to their own designer to grasp ideas during the process of their genesis, the article examines Frank Gehry’s concern about the revelation of the first gestural drawings and all the sketches and working models concerning the evolution of his projects, and his intention to capture the successive transformation and progressive concretisation of architectural concepts. The article also compares Gehry’s design process with that of Enric Miralles, Alvar Aalto, Bernard Tschumi, (...) and Le Corbusier. It sheds light on Miralles, Aalto, Le Corbusier and Gehry’s interest in a holistic understanding of all the parts of an architectural project, which is expressed through their tendency to draw the different sketches concerning the same project on the same sheet of paper. At the core of Gehry’s design approach is the osmosis of function and morphology. This aspect of his design vision could be compared to Alvar Aalto’s design process. At the core of the article are the distinction between communication drawings and conceptual drawings, and Gehry’s concern about achieving an osmosis between function and morphology. The article also investigates Gehry’s use of uninterrupted self-twisting line in his sketches, exploring his intention to enhance a straightforward relationship between the gesture and the decision-making regarding the form of the building. (shrink)

Even when they are defined with precision, one can often read and hear judgments about the vagueness of heuristics in debates about heuristic reasoning. This opinion is not just frequent but also quite reasonable. In fact, during the 1990s, there was a certain controversy concerning this topic that confronted two of the leading groups in the field of heuristic reasoning research, each of whom held very different perspectives. In the present text, we will focus on two of the papers published (...) in Psychological Review, wherein the arguments of each of these groups were presented:. (shrink)

In 1685, in The Art of Discovery, Leibniz set down an extraordinary idea: "The only way to rectify our reasonings is to make them as tangible as those of the Mathematicians, so that we can find our error at a glance, and when there are disputes among persons, we can simply say: Let us calculate [calculemus], without further ado, to see who is right." Calculemus.