Logical abductivism is the epistemic view about logic according to which logical theories are justified by abduction (or Inference to the Best Explanation), that is on how well they explain the relevant evidence, so that the correct logical theory turns out to be the one that explains it best. Arguably, this view should be equally applied to both deductive and non-deductive logics, abduction included. But while there seems to be nothing wrong in principle in using abduction to determine the correct (...) logical theories of deduction and induction, things might be more complicated regarding logical theories of abduction. We may wonder whether allowing for an abductive justification of a theory of abduction is an epistemically legitimate move, since here circularity casts its shadow and makes the situation darker. This is the issue to which this work is devoted. I will defend that, to be effective, an abductive justification for a theory of abduction calls for a justification of abduction in advance, which we do not yet have. (shrink)

We provide a framework for understanding agnosticism. The framework accounts for the varieties of agnosticism while vindicating the unity of the phenomenon. This combination of unity and plurality is achieved by taking the varieties of agnosticism to be represented by several agnostic stances, all of which share a common core provided by what we call the minimal agnostic attitude. We illustrate the fruitfulness of the framework by showing how it can be applied to several philosophical debates. In particular, several philosophical (...) positions can be aptly conceived of as instances of agnosticism whilst retaining their differences and distinguishing features. (shrink)

Control is typically accepted as a necessary condition for moral responsibility. Thus, humans are morally responsible for their actions only if we can realise the right kind of control. Are there good reasons to think that humans can psychologically realise control? This paper is an attempt to address this question by establishing choice and agenthood as separate but interconnected aspects of control. I consider two challenges to the claim that humans can realise the kind of control required for moral responsibility. (...) First, an empirical challenge from cognitive neuroscience provides a familiar way to argue against the realisation of the choice aspect by human psychology. Second, a more formidable conceptual challenge to the aspect of agenthood presents us with scepticism about the kind of explanations that psychology can provide. The second challenge suggests that, in psychological accounts of choice, the agent disappears. Drawing on recent empirical models of cognitive control and philosophical accounts of agency, I conclude that the psychological explanation of choice is consistent with the aspect of agenthood being realised by human psychology. (shrink)

Potentialities of attention and distraction with respect to images are critically reprised by Neapolitan artist Domenico Antonio Mancini. In Landscapes (2019), Google Street View addresses painted on canvases take the place of outlying areas of Italian cities, and of canonical oil ‘vedute’ paintings, obliging the viewer to switch from aesthetic absorption to a multitasking, reflexive attention enabled by the tools of mobile devices and the operative agency between the displayed and depicted images. Attracted by the ephemeral, geo-localized vistas displayed on (...) their smartphones, spectator-users must deal with the dynamis of the on-line GSV images: rhetorical and predictable, though, at the same time, and perhaps unintentionally, serendipitous and figural. (shrink)

Some time ago, the philosopher Luciano Floridi suggested that Western philosophy, and the mainstream contemporary approach to it traditionally called ‘analytic philosophy’, is in dire need of a reboot. The concern was that the discipline might be in a period of decadence. Analytic philosophy would be benefited by greater internationalization, wider and more transparent decision-making, and the reduction (as much as possible) of conflicts of interest as well as of its current habit of hiring and providing publication opportunities on the (...) basis of contacts, networking, and academic pedigree. If we are right, then we need a reconditioning of the institutional framework of analytic philosophy that adjusts it to the current global and interconnected world. (shrink)

Contemporary philosophy is beginning to pay to problems of linguistic justice the attention that they deserve in today’s heavily interconnected world. However, contemporary philosophy, as a part of today’s world, has problems of linguistic justice of its own which deserve meta-philosophical attention. At least in the philosophical tradition that is mainstream in much of the world today, viz. analytic philosophy, methodological and sociological mechanisms make it the case that the voices of non-native-speaking philosophers are substantially less heard. In this essay, (...) I briefly outline the problems non-native speakers face in contemporary analytic philosophy. I then move on to analysing the possible causes of the current problems. Among these reasons, I argue, is the emphasis given to linguistic style and appearances as signs of clarity, precision and rigour in the treatment of philosophical problems. I argue that the current emphasis on linguistic style in analytic philosophy is not justifiable, in part because it deprives contemporary analytic philosophy of a wider variety of philosophical perspectives. I argue that an important remedy for the emphasis on linguistic appearances within philosophy is to foster greater linguistic diversity. I conclude by presenting and motivating a recent initiative that aims to achieve such a goal. (shrink)

ABSTRACTEcumenical Alethic Pluralism is a novel kind of alethic pluralism. It is ecumenical in that it widens the scope of alethic pluralism by allowing for a normatively deflated truth property alongside a variety of normatively robust truth properties. We establish EAP by showing how Wright’s Inflationary Arguments fail in the domain of taste, once a relativist treatment of the metaphysics and epistemology of that domain is endorsed. EAP is highly significant to current debates on the nature of truth insofar as (...) it involves a reconfiguration of the dialectic between deflationists and pluralists. (shrink)

Some philosophers have argued that truth is a norm of judgement and have provided a variety of formulations of this general thesis. In this paper, I shall side with these philosophers and assume that truth is a norm of judgement. What I am primarily interested in here are two core questions concerning the judgement-truth norm: (i) what are the normative relationships between truth and judgement? And (ii) do these relationships vary or are they constant? I argue for a pluralist picture—what (...) I call Normative Alethic Pluralism (NAP)—according to which (i) there is more than one correct judgement-truth norm and (ii) the normative relationships between truth and judgement vary in relation to the subject matter of the judgement. By means of a comparative analysis of disagreement in three areas of the evaluative domain—refined aesthetics, basic taste and morality—I show that there is an important variability in the normative significance of disagreement—I call this the variability conjecture. By presenting a variation of Lynch’s scope problem for alethic monism, I argue that a monistic approach to the normative function of truth is unable to vindicate the conjecture. I then argue that normative alethic pluralism provides us with a promising model to account for it. (shrink)

Noël Carroll’s influence on the contemporary debate on the horror genre is hard to overestimate. His work on the topic is often celebrated as one of the best instances of interdisciplinary dialogue between film studies and philosophy of art. It has provided the foundations for the contemporary study of horror in art. Yet, for all the critical attention that his views on horror have attracted over the years, little scrutiny has been given to the nature itself of the emotion of (...) horror in the genre. This article offers a critical understanding of the nature of the emotion of horror for Carroll, with a view to informing future investigations into the nature of horror in film (and beyond). (shrink)

In Truth and Objectivity, Crispin Wright argues that because truth is a distinctively normative property, it cannot be as metaphysically insubstantive as deflationists claim.1 This argument has been taken, together with the scope problem,2 as one of the main motivations for alethic pluralism.3 We offer a reconstruction of Wright’s Inflationary Argument (henceforth IA) aimed at highlighting what are the steps required to establish its inflationary conclusion. We argue that if a certain metaphysical and epistemological view of a given subject matter (...) is accepted, a local counterexample to IA can be constructed. We focus on the domain of basic taste and we develop two variants of a subjectivist and relativist metaphysics and epistemology that seems palatable in that domain. Although we undertake no commitment to this being the right metaphysical cum epistemological package for basic taste, we contend that if the metaphysics and the epistemology of basic taste are understood along these lines, they call for a truth property whose nature is not distinctively normative—contra what IA predicts. This result shows that the success of IA requires certain substantial metaphysical and epistemological principles and that, consequently, a proper assessment of IA cannot avoid taking a stance on the metaphysics and the epistemology of the domain where it is claimed to be successful. Although we conjecture that IA might succeed in other domains, in this paper we don’t take a stand on this issue. We conclude by briefly discussing the significance of this result for the debate on alethic pluralism. (shrink)

Can someone who suspends judgement about a certain proposition <p> be in a relational state of disagreement with someone who believes <p> as well as with some- one who disbelieves <p>? This paper argues for an af- firmative answer. It develops an account of the notions of suspended judgement and disagreement that explains how and why the suspender is in a relational state of disagreement with both the believer and the disbeliever about the very same proposition <p>. More specifically, the (...) paper first provides a characterisation of the norma- tive profile associated with the state of suspended judge- ment in terms of the set of normative commitments that it engenders in the context of inquiry. It then provides a characterisation of the notion of disagreement in terms the incompatibility between the sets of normative com- mitments characteristic of the three states in question— belief, disbelief, and suspension. (shrink)

In Propelled, Elpidorou persuasively argues that the three prima facie undesirable conditions of boredom, frustration and anticipation are, in fact, importantly valuable to human life. His method is an interesting combination of existentialist explorations and reporting of cognitive science research, all written in a style more friendly to the analytic-philosophical tradition. However, I argue, the book’s precision and depth of philosophical analysis have some limitations. This is so in two main respects: first, in the relative lack of discussion of important (...) philosophical antecedents, and secondly, in the relative lack of critical engagement with some of the empirical literature the book discusses. (shrink)

In Savoring Disgust, Carolyn Korsmeyer argues that disgust is peculiar amongst emotions, for it does not need any of the standard solutions to the so-called paradox of fiction. I argue that Korsmeyer’s arguments in support of the peculiarity of disgust with respect to the paradox of fiction are not successful.

In recent years, increasing attention has been devoted to the underrepresentation, exclusion or outright discrimination experienced by women and members of other visible minority groups in academic philosophy. Much of this debate has focused on the state of contemporary Anglophone philosophy, which is dominated by the tradition of analytic philosophy. Moreover, there is growing interest in academia and society more generally for issues revolving around linguistic justice and linguistic discrimination (sometimes called ‘linguicism’ or ‘languagism’) (see e.g. Van Parijs 2011). Globalization (...) and the increasing adoption of English as global linguistic vehicle or lingua franca push these issues at the forefront of much of the world’s attention. The convergence of these two trends suggests the appropriateness of an analysis of the condition of non-native speakers of English in analytic philosophy. (shrink)

Per il dialeteismo ci sono contraddizioni vere. Questa concezione filosofica ha assunto una forma chiara e definita a partire dal lavoro del filosofo e logico Graham Priest – uno dei suoi padri fondatori, nonché uno dei suoi più strenui difensori. Questo libro intende portare il dialeteismo all’attenzione di un ampio pubblico, che non sia solo quello degli addetti ai lavori. Il volume è suddiviso in due parti. La prima include le cinque lezioni su "Dialeteismo e storia della filosofia" tenute da (...) Priest e Filippo Casati a Padova nel 2016, in occasione del Corso di Eccellenza per il dottorato in filosofia dell’Università di Padova. La seconda contiene quattro contributi sul dialeteismo di autori italiani. (shrink)

The paper leans on a movie cult from the 1960s, Blow-Up (1966) by Michelangelo Antonioni, of which a famous sequence is often mentioned, the one in which the protagonist, the photographer Thomas (considered here as a "conceptual character"), repeatedly enlarged the photographs he made in a park, in order to find an answer to the mystery surrounding the murder of a man: magnification which leads, on the one hand, to a gradual loss of definition of images, with the grain of (...) the picture becoming more and more evident, but also, on the other, in the emergence, from the very material of the print, of a fundamental detail that will help solve the mystery. What interests is the link between indicative referentiality and evidence documentary, between degrees of definition and authentication powers. The paper also analyzes the links that intertwine, in the film, between the photographs of Thomas (by Don McCullin) and paintings painted by another character of the movie, Bill (directed by Ian Stephenson), but also, outside the film, with all a series of examples from artistic production and visual culture of the time: very low definition images of the Kennedy assassination in Dallas (the famous Zapruder Film), the portrait of Lee Harvey Oswald directed by Sigmar Polke by simulating the halftone technique, the war photographs of Don McCullin and David Bailey's Fashion Photographs, Random Earths Studies by Mark Boyle and Joan Hills, Materialologies and Texturologies by Jean Dubuffet, as well as Zen for Film by Nam June Paik. Fimiani's text addresses also two contemporary installations which have tried to return to the issues from the photographic sequence of Antonioni's film: Blow-Up Blow-Up (2010) by Joan Fontcuberta and Portrait Landscape (from the Object Classifier series) (2015) by John Houck, an installation in which photograms of Blow-Up are analyzed through facial recognition software. (shrink)

According to Hume, the pleasures that appreciators experience from good tragedies are critically accounted for by the unpleasantness associated with the events that those tragedies represent. This account appeals to a process of conversion of the unpleasant into the pleasant. Two of the more prominent contemporary interpretations of Hume’s conversion process – respectively advanced by Malcolm Budd (1991) and Alex Neill (1998) – put forward two contrasting views of the role of unpleasantness in Hume’s view of the pleasures of tragedy. (...) In the present paper, I argue that, whilst Budd’s and Neill’s readings find some textual support in “Of Tragedy”, neither of them can do complete justice to the text of Hume’s essay. By contrast, I show that what I call a ‘two-stage interpretation’ of Hume’s conversion thesis is consistent with a body of textual evidence that neither Budd’s nor Neill’s interpretations can accommodate in its entirety. (shrink)

Assessment relativism, as developed by John MacFarlane, is the view that the truth of our claims involving a variety of English expressions—‘tasty’, ‘knows’, ‘tomorrow’, ‘might’, and ‘ought’—is relative not only to aspects of the context of their production but also to aspects of the context in which they are assessed. Assessment relativism is thus a form of truth relativism which is offered as a new way of understanding perspectival thought and talk. In this article, I present the main theses of (...) assessment relativism, focusing in particular on highlighting the points of commonality and contrast with other forms of truth relativism. I then offer some critical remarks concerning the motivation of assessment relativism in relation to matters of taste. (shrink)

It has been recently argued, contrary to the received eighteenth-century view, that disgust is compatible with aesthetic pleasure. According to such arguments, what allows this compatibility is the interest that art appreciators sometimes bestow on the cognitive content of disgust. On this view, the most interesting aspect of this cognitive content is identified in meanings connected with human mortality. The aim of this paper is to show that these arguments are unsuccessful.

Arthur Danto asserts that Maya Lin’s Vietnam Veterans Memorial in Washington embodies the rhetoric paradigm of internal beauty’s meaning. However, the relationship to the Kant’s pulchritudo adhaerens is not an easy one: Danto’s recalls against the self-referent formalism of Greenberg’s Modernism and his tacit issues about the environmental non-monumentality of Richard Serra’s Minimalism, are, most importantly, haunted by the unquestioned spectral logic of the image embodiment. The beholders’ reflecting shape on the funeral Wall is, finally, both a pathetic index and (...) a medial incarnation–e.g. a Verkörperung–of the underworld. (shrink)

En el verano de 1947, Yves Klein, Claude Pascal, Armand Fernández, sentados en la playa de Niza: contemplan el mar y el cielo azul, no hacen nada, y hacen declaraciones sobre el arte que llegará, sobre el Arte y el Gran Estilo del Futuro. A partir de ese momento, y de esas palabras, cada una de sus vidas cambia radicalmente: se convertirá en una vida nueva, una vida de artista sin obras, hecha solo de palabras, narraciones, gestos. En ese episodio, (...) nace el Nouveau Realisme y la voluntad artística de la superación del problema del arte según el Modernismo y la Action Painting. En ese episodio y en su narración, hecha sucesivamente por los tres jóvenes artistas, se puede localizar el nacimiento del propio y auténtico mito del artista contemporáneo. (shrink)

What happens when painting emancipates itself from all physical mediums, the piece of art disappears from the exposition site and it becomes immaterial, indiscernible within its surrounding space? What type of esthetic experience and embodied understanding of art is possible under these programmed and produced conditions, maybe dissimulated, and finally enunciated and affirmed next to and in place of that which presents itself with the title of art masterpiece? What type of description, definition and interpretation is necessary? What type of (...) phenomenology, pragmatic, rhetoric, and ontology is called upon? What type of percepts, of effects and affects, of appearance and apparatus, are put into play in this esthetic relation lacking an artistic object? When there is nothing to see and to touch, what living forms, what beliefs, what qualities are dealt with? Until this day, after more than 50 years, the “Exposition of Void” of Yves Klein doesn’t quit asking these and other questions on aesthetics and to the history of art. (shrink)

Some philosophers, like Mark Richard and Paul Boghossian, have argued against relativism that it cannot account for the possibility of faultless disagreement. However, I will contend that the objections they moved against relativism do not target its ability to account for the possibility of faultless disagreement per se. Ra- ther, they should be taken to challenge its capacity to account for another element of our folk conception of disagreement in certain areas of discourse—what Cris- pin Wright has dubbed parity. What (...) parity demands is to account for the possibil- ity of coherently appreciating, within a committed perspective, that our oppo- nent’s contrary judgement is somehow on a par with our own judgement. Under- stood in this way, Boghossian’s and Richard’s objections put indeed considerable pressure on relativism—or so I will argue. I will consider John MacFarlane’s at- tempt to resist their objections and I will show that, once their arguments are properly understood as targeting parity, the attempt is not successful. In the last section of the paper I will offer a diagnosis of what is at the heart of the relativist inability to account for parity—namely its assumption of a monistic conception of the normativity of truth. (shrink)

Arthur Danto asserts that Maya Lin’s Vietnam Veterans Memorial in Washington really embodies the beauty of his meaning. For him, the Memorial’s “internal beauty” is felt and read because she is built as a text by the rhetoric of enthymeme, as a syllogism based on some tacit knowledges and highly probables communplaces. However, the relationship to the Kant’s pulchritudo adhaerens and philosophy of architecture is not an easy one : Danto rejects as unreadable the self-referent formalism of Greenberg’s Modernism and (...) the environmental non-monumentality of Richard Serra’s Minimalism, but the agency of the Memorial’s shared internal beauty is haunted by an unquestioned spectral logic. Actually, the image embodiment in this work can always exceed the rhetoric of reconnaissance supported by the syllogistic rhetoric and disturb the identity framework of the nord-american community. The beholders’ reflecting shape on the Memorial can become, finally, an unreadable and pathetic index, or be perceived as a figural imprint, ephemeral and troubling ; these disembodied pictures can achieve a medial incarnation – e.g. a Verkörperung – of the underworld. (shrink)

A series of recent experimental studies have cast doubt on the existence of a traditional tension that aestheticians have noted in our aesthetic judgments and practices, viz. the problem of taste. The existence of the problem has been acknowledged since Hume and Kant, though not enough has been done to analyse it in depth. In this paper, we remedy this by proposing six possible conceptualizations of it. Drawing on our analysis of the problem of taste, we argue that the experimental (...) results in question are not a real challenge to its existence. By contrast, they provide empirical evidence in its support. (shrink)

We offer a critical survey of the most discussed accounts of epistemic peer disagreement that are found in the recent literature. We also sketch an alternative approach in line with a pluralist understanding of epistemic rationality.

Mimicry, camouflage, transvestism, chance or cryptic anamorphism, fascination – all ways of changing clothes, habits and habitats in nature as well as in culture, in any symbolic field created by human beings during their history. Art and artification, aestheticization, stylization and beautification are all practices reflecting the need and desire for biological as well as social adaptation, all performances producing functional and fictional frames, boundaries or hierarchies in ordinary life, including the artworld. They can persuade and convince by creating consensus (...) and belief, but they can also lead to a different common sense, a sensorium – a sensorial medium and an aesthetic mediation open to a new world and to new experiences. -/- By investigating mimetism as a fundamental and polymorphic aesthetic performance, this issue of «Aisthesis» aims to rethink the concept, value, and function of mimesis and its media in the context of camouflage, simulation, and dissimulation, where images do not reveal themselves as such, but are to be perceived unambiguously as what they are not – as hieroglyphs or puzzles. In the animal kingdom, as well as in war or in ordinary public life, camouflage consists in taking on the traits, colours, and shapes of a given form or environment. This is a twofold process: on the one hand, by blending two or more shapes in one, the camoufleur seeks to remain hidden and to mislead the others in order to keep a vital secret or an ephemeral whim; on the other hand, however, he/she aims to be recognized by a specific milieu or group, thus betraying a craving for communication and familiarity, as well as a need to convey an agreeable appearance and to share a way of life. (shrink)

Philosophy’s place, at the intersection of the scientific and humanities disciplines, makes it an interesting test case for the role of English and other languages and cultures in our contemporary knowledge economy. The humanities’ attention to the richness of the world’s languages and cultures is in tension with the science’s essentially cosmopolitan project. This tension is perhaps especially evident in ‘analytic’ or ‘Anglo-American’ philosophy. Despite complementarity in earlier stages of the discipline, the humanities and scientific tendencies are now clashing with (...) undesirable results. This is in an important part due to analytic philosophy’s underexamined focus on a single vehicular language. One symptom of this malaise is that the voices of non-native-speaking philosophers are significantly less heard than those of native speakers. Especially problematic is, I argue, the current emphasis given to aesthetic considerations, and in particular linguistic form or style, as a sign of scientific rigour in the analysis of philosophical problems. I discuss this emphasis critically, arguing that it is not justifiable, in part because it deprives contemporary analytic philosophy of a wider variety of philosophical perspectives arising from different languages and cultures. I conclude by briefly presenting a recent attempt to make contemporary philosophy more linguistically inclusive. (shrink)

In the ontology of the artwork and its regimes of existence, Gérard Genette gives but little room to the theory and practice of restoration. However, restoration is seen in relation to the identity of the work itself and to its material and pragmatic temporality and anachronism. In the wake of Nelson Goodman, it is also understood as a form of actuation and implementaion of the aesthetic experience. Starting from these premises, the present essay intends to examine the relationship between Genette’s (...) and Daniel Arasse’s reflections on restoration and the history of art, highlighting their similarities and differences with Cesare Brandi’s theory of restoration and, therefore, pointing out their as yet undischarged debts to Sartre’s phenomenology of image. (shrink)

The pragmatist tradition in philosophy has left a sound legacy in many contemporary research fields. John Dewey’s continuist and emergentist approach to the nature-or-nurture problem in relation to the individual human mind has been regained lately in evolutionist psychology and related disciplines. For Dewey, language plays a fundamental role in creating and maintaining this continuity between the individual mind and the social and physical environment humans inhabit. The present article will focus on a few contemporary lines of research that identify (...) language as the ‘glue’ that bonds each individual to one another and to society, with a decisive impact on the development of one’s own mind. (shrink)

Peter Vaudreuil Lamarque is one of the most prominent members of the golden generation of analytic aestheticians born immediately after the Second World War. If, to follow Archilochus via Isaiah Berlin (via Peter Kivy), “a fox knows many things, but a hedgehog one important thing,” Lamarque is perhaps the biggest hedgehog of his generation. Lamarque’s “important thing” is not a single idea but, as he would put it, the practice that we call “literature.” His distinctive achievement has been to integrate (...) a number of different ideas into a systematic philosophical account of literature, which also sheds light on art more generally. (shrink)

In this book, we interpret post-truth as a multifaceted phenomenon which involves fake news, emotion-driven rhetoric (vs fact-driven discussion), credulism in the social-media, conspiracy theories and scientific denialism. We develop three models intended to represent the multifaceted nature of post-truth in terms of deviated forms of enquiry – which we label “post-enquiries”. The first form of post-enquiry posits the existence of alternative facts; the second prioritizes emotions over facts; the third limits the scope of the norms of enquiry. We elaborate (...) on the third model in relation to scientific denialism and we apply it to analyse the case of flat-earthism. (shrink)

Fish Night, an episode of LOVE DEATH + ROBOTS (S01E12, 2019) based on a 1982 short story by Joe R. Lansdale, can be interpreted as an allegory of the impossibility of immersive experience: if real, it is deadly, because the images are no longer such or ghosts but living beings present in a shared environmental habitat, acting with but also against the subject, in turn no longer a spectator. Comparing the story and film, and ancient ekphrastic literature, I discuss, in (...) a trans-medial imaginary genealogical perspective, the symptoms of this cultural topos and of the regressive desire for immersion and for transparent immediacy that shapes and drives it, dwelling in particular on the ambivalent phenomenological and ontological relations between living bodies, pictures and media as deep time-bending. (shrink)

Metaphor has often been seen as tightly associated with both aesthetics and cognition, as well as with other aesthetic and cognitive phenomena such as imagination, symbol, allegory, analogy and simile. This article offers a theory of metaphor that accounts for such aesthetic and cognitive associations. The theory is based on a suitably interpreted version of a tool originally developed in an epistemic context, viz. Floridi and Sanders’ method of abstraction.

The study of the arts in philosophy has often concentrated on the role that emotions (and affective responses more generally) play in art’s creation and value. Philosophical theories of art have sometimes even defined art in terms of its capacity to elicit or express emotions. Philosophers have debated such questions as what it is to express an emotion in art; whether emotions form part of the value of an artwork; whether the emotions involved in art appreciation are of the same (...) kind as those that we experience in real life, or of a different, even sui generis kind (i.e., aesthetic emotions); whether it is rational or appropriate to experience emotions in response to art; and what value, if any, there is in art that evokes unpleasant emotions. Although the focus here will be on what, to a first approximation, can be characterized as the “Western mainstream philosophical tradition,” discussion of the role of emotions in art can also be found in different approaches and traditions of thought: from Indian philosophy to cognitive science, to so-called Continental philosophy. (shrink)

In a recent book, Immagine, Alberto Voltolini offers a rich and carefully written discussion of theories of depiction, which have drawn so much attention in recent Anglophone philosophy. Although Voltolini’s book has indisputable virtues, it also makes some questionable formal choices. The present essay presents a formal analysis of the book.

This paper is dedicated to the Εἰκόνες of the two Philostrati and to the Ἐκφράσεις of Callistratus, that is to say to three Greek works that bear important witness to the genre of art criticism in Antiquity and which concern both literary history and the history of art. The first series of Εἰκόνες is the work of Philostratus the Elder (2nd-3rd century AD) and comprises sixty-five descriptions of paintings with mythological subjects, which the author assures us he has seen in (...) a gallery in Naples. Another Philostratus, who claims to be the grandson of the former, and who is traditionally referred to as Philostratus the Younger, wrote a second, shorter series of Εἰκόνες, which describes seventeen paintings. Finally, a certain Callistratus, who probably dates from the 4th century AD, is the author of the Ἐκφράσεις, which group together fourteen descriptions of statues in marble and bronze.1 Ecphrasis is a subject that is often the focus of contemporary research. Perhaps its importance stems from the fact that we live in a civilization dominated by images, and we feel the need to control the visual imagery that surrounds us, to govern it and to make sense of it through language. The attention given to literary theory, rhetoric and sophistry today also helps to explain the success of this subject. The present book is situated in this field of research. The "La Licorne" series in which it is published specializes in the study of ancient and modern literature, a specialization to which this volume corresponds. This volume has two points of focus: (1) the literary form of description and the complex relationships between word and image, between the oral and the visual (hence the title Le défi de l'art, which signifies, among other things, that the art of the painter and of the sculptor challenges the sophist, who tries to describe works of art with words); (2) the Nachleben of ancient texts, because Philostratus and Callistratus were well-known to posterity, particularly during the Renaissance. (shrink)

This thesis engages with three topics and the relationships between them: (i) the phenomenon of disagreement (paradigmatically, where one person makes a claim and another denies it); (ii) the normative character of disagreements (the issue of whether, and in what sense, one of the parties is “at fault” for believing something that’s untrue); (iii) the issue of which theory of what truth is can best accommodate the norms relating belief and truth. People disagree about all sorts of things: about whether (...) climate is changing, death penalty is wrong, sushi is delicious, or Louis C.K. is funny. However, even focusing on disagreements in the evaluative domain (e.g., taste, moral and comedic), where people have the intuition that there is ‘no fact of the matter’ about who is right, there are significant differences that require explanation. For instance, disagreement about taste is generally perceived as shallow. People accept to disagree and live comfortably with that fact. By contrast, moral disagreement is perceived as deep and sometimes hard to tolerate. Comedic disagreement is similar to taste. However, it may involve an element of ‘intellectual snobbery’ that is absent in taste disagreement. The immediate questions are whether these contrasts allow of precise characterization and what is responsible for them. I argue that, once a case is made for the truth-aptness of judgments in these areas, the contrast can be explained in terms of variable normative function of truth – as exerting a lightweight normative constraint in the domain of taste and a stricter constraint in the moral domain. In particular I claim that while truth in the moral domain exerts a sui generis deontic control, this normative feature of truth is silent in both the taste and the comedic domains. This leads me to investigate how to conceive of truth in the light of normative variability. I argue that an amended version of deflationism – minimally inflated deflationism – can account for the normative variability of truth. (shrink)

The horror genre (in film, literature etc.) has, for its seemingly paradoxical aesthetic appeal, been the subject of much debate in contemporary, analytic philosophy of art. At the same time, however, the nature of horror as an affective phenomenon has been largely neglected by both aestheticians and philosophers of mind. The standard view of the affective nature of horror in contemporary philosophy follows Noël Carroll in holding that horror in art (or “art-horror”) is an emotion resulting from the combination of (...) disgust and fear. The view is also often accompanied by the view that horror in art is a distinct affect from horror in real life. This raises the question of what the relationship between horror in art and in real life might be. By looking within and outside art and the horror genre, and using a combination of historical, philosophical and empirical arguments, I argue for a departure from such standard views on the affective nature of horror. In alternative, I outline a novel view, on which horror is common to both real life and art and is primarily, typically individuated by a set of (output) affective reactions. (shrink)

The transparency thesis for disgust claims that what is disgusting in nature is always also disgusting in art. Versions of the thesis have been endorsed by, among others, Kant, Lessing, Mendelssohn, and, more recently, Arthur Danto, Carolyn Korsmeyer, and Jenefer Robinson. The present paper articulates and discusses different readings of the thesis. It concludes that the transparency thesis is false.

periphery looks at you with hate. This phrase in red neon struck the visitors of Landscapes, an exhibition by Domenico Antonio Mancini in the Lia Rumma Gallery in Naples, in 2019. It was not addressed to the public but to the nineteenth-century pictorial views relocated in the last room of the exhibition, as if repainted by the immaterial vandalism of the colored light. The exhibition’s theme was the visibility of contemporary suburban environments, now accessible through Google street view visualizations. Mancini’s (...) non-representational Landscapes are Google addresses, not aesthetically appreciable but pragmatically challenging: the visitor must type on a touch screen to access to the outskirts of Naples, Palermo, Catania, Rome and Milan. The words at the end of the exhibition almost literally replicated a black graffiti drawn on Palazzo Missori in Milan. Are these relocation and remediation just about artification? What happens when, browsing Google street view, I take a close look at that graffiti recalling the political protests during the streets the 1960s? The deictic transitability in space and time of the hypermediated image can activate a fortuitous narrative and an open interpretation by looking back on the present as if it were past. Even a digital landscape is a moral landscape like that of public art for Danto, with a «internal beauty» whose meaning is not already embodied in architectural and artistic media but accessible and shareable through our portable devices. (shrink)

Il linguaggio permea la nostra vita quotidiana: quando chiediamo un caffè al bar, quando discutiamo con i nostri amici, quando salutiamo qualcuno o ci presentiamo a un colloquio di lavoro, comunichiamo utilizzando parole ed espressioni di una certa lingua. Conversare è un'attività spontanea e apparentemente elementare, ma che coinvolge meccanismi estremamente complessi e sofisticati. Tramite numerosi esempi e illustrando le teorie linguistiche e filosofiche più recenti, questo libro vuole fornire al lettore una "cassetta degli attrezzi" utile per comprendere e analizzare (...) il funzionamento di quel particolare tipo di azione che è l'agire linguistico. (shrink)

What is at stake in this counterintuitive reappraisal of such different authors as Claudel, Valéry and Nietzsche is not a poietics of artistic techniques and processes but their style of sensorial and sensitive subjectivation as such. The aim is not a comparative philosophy of art but a genealogy of aesthetic experience. The three authors here considered differ widely in terms of their worldviews and cultural backgrounds. However, they share a similar radical critical view of the Modern and its idols—the cartesian (...) subject, historical progress, the economy of time and memory, the originality of the artist, artistic exceptionalism, etc—as well as a meticulous philological attention paid to the dynamics of how the subject becomes and says itself through a confrontation with the figures of otherness that precede it and haunt it. (shrink)

We reply to various arguments by Otavio Bueno and Edward Zalta (‘Object Theory and Modal Meinongianism’) against Modal Meinongianism, including that it presupposes, but cannot maintain, a unique denotation for names of fictional characters, and that it is not generalizable to higher-order objects. We individuate the crucial difference between Modal Meinongianism and Object Theory in the former’s resorting to an apparatus of worlds, possible and impossible, for the representational purposes for which the latter resorts to a distinction between two kinds (...) of predication, exemplification and encoding. We show that encoding has fewer forerunners in the history of philosophy than Bueno and Zalta want, and that there’s a reason why the notion has been found baffling by some. (shrink)

What happens to critical and aesthetic discourse when a painter promises that he will not paint anymore? What goes on when a famous artist says that all the paintings are just junk or dust, and all the institutional sites of the art-world – actually, the White cube of Clement Greemberg’s Modernism – are just wasted spaces? What’s the matter or the reason of the prestige of a similar no-working man, and what’s the perceptible quality of the value of a so-called (...) art without any artefact at all? In the late '50sand early'60s in Paris, Andy Warhol and Yves Klein claimin different butvery similar ways the end of painting and the disappearing of the work of art from the exposition site and its becoming immaterial or environmental art, indiscernible within its surrounding living space and, finally, with the atmosphere of glamour and snobbish artist’s life. What kind of phenomenology, pragmatic, rhetoric, poetics, economy and ontology is possible when nospectatorialmode of visual consumption is any longer possible? What type of aesthetic relationship actually happens under these planned and produced conditions of non-perceptual and ‘artialized’ living experience? After more than fifty years, the statements of The philosophy of Andy Warhol and the Exposition of void of Yves Klein have not yet stopped to pose questions as such to aesthetics, theory of literature and critics, and to the history of art. (shrink)

What happens to artist and to viewer when painting or sculpture emancipates itself from all physical mediums? What happens to art-world experts and to museum goers and amateurs when the piece of art turns immaterial, becoming indiscernible within its surrounding empty space and within the parergonal apparatus of the exposition site? What type of verbal depiction, of critical understanding and specific knowledge is attempted under these programmed and fabricated conditions? What kind of aesthetic experience–namely embodied and sensitive–is expected when a (...) performative utterance of the artist about his art takes the place of a real piece of artwork seen or perceived, or that may be seen or perceived? For Andy Warhol, «wasted space is any space that has art in it.» In the spring of 1958, in Paris, an artist already well-known among the neo-avantgardes and accredited by the international art-world, shows up empty-handed and presents himself as a painter without paintings in a empty space. In a singular never-wasted space, Yves Klein displays himself as a snob, with an extraordinary showbiz glamour and literally sine-nobilitate, without the traditional marks of artistic manual skills. Against the modernist issues, he writes: «Credit was given to me. The gesture alone was enough. The public had accepted the abstract intention.» What’s the matter with this powerful prestige and its influence on the critic and public? How to understand the public trust in the artist as a producer of an institutional “make-believe” without any objecthood, devoid of any individual artwork presented to the sight or to any other sense? For Modernism and Minimalism, the work of art seems to have an internal coherence, whether formal or expressive, and is thus autonomous from the surrounding world, existing with only the clear opposition to the living space and set as a specialized and situated objection to the enclosing field. Instead, now the object melts into the air and becomes undetectable, confused with the atmosphere of the theory of art and with the stylish and snobbish life of the artist. What type of interpretation is put on regarding this unclassifiable and ambiguous field, simultaneously an-aesthetic and existential, theoretical and sensitive, charismatic and motionless, at same time without a specialized position in the world made by the artist himself? And what kind of embodied experience is performed by the spectatorship? What type of phenomenology and pragmatics of aesthetic relationship is necessary to describe how the body of the beholder absorbs this vacated and boring space via a direct and immediate perception-assimilation? What kind of artistic rhetoric, what kind ontology of art? Until this day, after more than 50 years, Yves Klein’s The Void has not ceased asking these and other questions on aesthetics, philosophy and the history of art. (shrink)

According to the so-called transparency thesis, what is disgusting in nature cannot but be disgusting in art. This paper critically discusses the arguments that have been put forward in favour of the transparency thesis, starting with Korsmeyer's (2011) sensory view of disgust. As an alternative, it offers an account of the relationship between disgust and representation that explains, at least in part, whatever truth there is in the transparency thesis. Such an account appeals to a distinction between object-centric and situation-centric (...) emotions. (shrink)

Inspired by the text entitled The Collapse of the Fact/Value Dichotomy and Other Essays (2004) of Hilary Putnam, the volume focuses on the theory and practice of knowledge, but one can legitimately extend it to other fields, most especially in aesthetics. Certain observable features in the fields of aesthetics, practice and artistic creation show that old evaluation criteria may now be obsolete. This is because upon further consideration, the definition of value remains opaque : should the artwork be judged according (...) to its moral value, its market value, or its formal value ? To side with or against the concept of value in art and aesthetics does not preclude a certain number of differences concerning the very nature of what is meant by value. If traditionally the ‘fact’ was the work, taken in all its tangibility, currently the materiality of the object no longer seems to play such a major role. Art is increasingly populated by so-called ‘immaterial’ or ‘ephemeral’ works and is therefore rarely, or badly, quantifiable according to old aesthetic and economic evaluation criteria. The progressively pragmatic contextualization of works within the social space puts forward a new definition of aesthetic value, no longer eternal and ideal, but rather anchored in the sensible and the politico-economic issues of a culturally specific situation. The current changes too support the idea that the question of ‘value’ and its confrontation with the concept of ‘fact’ is urgent. What role do artistic practices and aesthetic theories play ? A role of emancipation, of liberation, escape, or transformation ? Or on the contrary, could art become another means to subject individuals to the status quo ? As can easily be noticed, the question of maintaining or rejecting the dichotomy of facts and values is at the heart of the most pressing issues. (shrink)