Results for 'Filippo Domaneschi'

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Filippo Domaneschi
Universität Konstanz
  1. The Cognitive Load of Presupposition Triggers: Mandatory and Optional Repairs in Presupposition Failure.Filippo Domaneschi, Carlo Penco, Elena Carrea & Alberto Greco - 2014 - Language, Cognition and Neuroscience 29 (1):136-146.
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  2. Introduzione alla pragmatica.Filippo Domaneschi - 2014 - Carocci.
    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 (...)
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  3. Relativism, Faultlessness and Parity.Ferrari Filippo - 2016 - Argumenta 3.
    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 (...)
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  4. Only noise if you can see.Fimiani Filippo - 2014 - Lebenswelt. Aesthetics and Philosophy of Experience 1 (4).
    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 (...)
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  5.  14
    Voltaire, Candido, a cura di Sergio Cremaschi e Filippo Bruni. Voltaire, Sergio Volodia Marcello Cremaschi & Filippo Bruni - 2001 - Scandicci (Firenze), Italy: La Nuova Italia.
    This is one more edition of Voltaire's "Candide", meant to highlight the wealth of philosophical and theological discussions hidden behind the apparently innocent veil of the most renowned fable of modernity. The rather extended apparatus accordingly consists of a series of short chapters by Filippo Bruni on the Enlightenment and Metaphysics, and in more detail, on theology, Free choice, the problem of evil, and happiness in an imperfect world and another by Sergio Cremaschi on the Enlightenment and morality, and (...)
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  6. Editoriale–Etichettare/descrivere/mostrare.Filippo Fimiani & Pietro Kobau - 2011 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 4 (2):2-7.
    “Art”—what is it? What sort of entities are artworks? “Art”—when is it? Normally, when we visit an art exhibition, when we listen to a concert or when we look at a performing art in a setting, we use to read the titles, the tags or something textual, a threshold not crafted by the author, about the exposed or executed artworks in order to grasp their subject, style, history, and author. But: how does a title, a non-fiction depiction or a pointing, (...)
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  7. Normative Alethic Pluralism.Filippo Ferrari - 2018 - In Nathan Kellen, Nikolaj J. L. L. Pedersen & Jeremy Wyatt (eds.), Pluralisms in Truth and Logic. London, UK: Palgrave Macmillan. pp. 145-168.
    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 (...)
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  8.  30
    A Taxonomy of Disgust in Art.Noël Carroll & Filippo Contesi - 2019 - In Kevin Tavin, Mira Kallio-Tavin & Max Ryynänen (eds.), Art, Excess, and Education. Palgrave Macmillan. pp. 21–38.
    Disgust has been a perennial feature of art from medieval visions of hell to postmodern travesties. The purpose of this chapter is to chart various ways in which disgust functions in artworks both in terms of content and style, canvassing cases in which the content and/or style is literally disgusting in contrast to cases where the disgust serves to characterize the content, often for moral or political or broader cultural purposes.
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  9. Ecumenical Alethic Pluralism.Filippo Ferrari & Sebastiano Moruzzi - 2018 - Canadian Journal of Philosophy 49 (3):368-393.
    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 (...)
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  10. Art and Emotion.Filippo Contesi - 2018 - Oxford Bibliographies in Philosophy.
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  11. Introduction.Filippo Contesi & Enrico Terrone - 2018 - Philosophical Papers 47 (1):1-20.
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  12. Deflating Truth About Taste.Filippo Ferrari & Sebastiano Moruzzi - forthcoming - American Philosophical Quarterly 57 (4).
    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 (...)
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  13. An Evaluation Schema for the Ethical Use of Autonomous Robotic Systems in Security Applications.Markus Christen, Thomas Burri, Joseph O. Chapa, Raphael Salvi, Filippo Santoni de Sio & John P. Sullins - unknown
    We propose a multi-step evaluation schema designed to help procurement agencies and others to examine the ethical dimensions of autonomous systems to be applied in the security sector, including autonomous weapons systems.
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  14. Korsmeyer on Fiction and Disgust.Filippo Contesi - 2015 - British Journal of Aesthetics 55 (1):109-116.
    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.
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  15. The Meanings of Disgusting Art.Filippo Contesi - 2016 - Essays in Philosophy 17 (1):68-94.
    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.
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  16.  46
    Assessment Relativism.Filippo Ferrari - forthcoming - In Martin Kusch (ed.), Routledge Handbook to Relativism.
    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 (...)
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  17. Epistemic Peer Disagreement.Filippo Ferrari & Nikolaj J. L. L. Pedersen - forthcoming - In Miranda Fricker, Peter Graham, David Henderson, Nikolaj J. L. L. Pedersen & Jeremy Wyatt (eds.), The Routledge Handbook of Social Epistemology. London, UK:
    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.
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  18. Disgust’s Transparency.Filippo Contesi - 2016 - British Journal of Aesthetics 56 (4):347-354.
    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.
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  19. How Transparent is Disgust?Filippo Contesi - 2017 - European Journal of Philosophy 25 (4):1810-1823.
    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 (...)
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  20. Savoring Disgust: The Foul and the Fair in Aesthetics. [REVIEW]Filippo Contesi - 2012 - British Journal of Aesthetics 52 (1):113-116.
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  21.  36
    Je Est Un Autre. Mimicries in Nature, Art and Society.Filippo Fimiani, Paolo Conte & Michel Weemans - 2016 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 9 (2):3-6.
    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 (...)
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  22. Who’s Afraid of Robots? Fear of Automation and the Ideal of Direct Control.Ezio Di Nucci & Filippo Santoni de Sio - 2014 - In Fiorella Battaglia & Natalie Weidenfeld (eds.), Roboethics in Film. Pisa University Press.
    We argue that lack of direct and conscious control is not, in principle, a reason to be afraid of machines in general and robots in particular: in order to articulate the ethical and political risks of increasing automation one must, therefore, tackle the difficult task of precisely delineating the theoretical and practical limits of sustainable delegation to robots.
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  23. Réguler les robots-tueurs, plutôt que les interdire.Vincent C. Müller & Thomas W. Simpson - 2015 - Multitudes 58 (1):77.
    This is the short version, in French translation by Anne Querrien, of the originally jointly authored paper: Müller, Vincent C., ‘Autonomous killer robots are probably good news’, in Ezio Di Nucci and Filippo Santoni de Sio, Drones and responsibility: Legal, philosophical and socio-technical perspectives on the use of remotely controlled weapons. - - - L’article qui suit présente un nouveau système d’armes fondé sur des robots qui risque d’être prochainement utilisé. À la différence des drones qui sont manoeuvrés à (...)
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  24.  59
    Azul pintado de azul. Leyendas de artistas sin obras.Filippo Fimiani - 2017 - Boletín de Arte (38):35-44.
    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, (...)
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  25.  56
    El vientre de los modernos. Psicología, fisiologia y filologia de la consciencia historíca.Filippo Fimiani - 2017 - Boletín de Estética 39:7-42.
    “La ‘modernidad’ a través de la imagen de la comida y la digestión”. Ésta es la tarea y el programa de la genealogía fisiológica y psicológica identificada con claridad por Nietzsche en un fragmento del otoño de 1888 y firmemente perseguida en toda su obra. El diagnóstico es implacable y es posible por un uso extendido de la metáfora gastronómica, aplicada a todos los campos de la experiencia y el lenguaje por una escritura temeraria de la historia. Como Valéry y (...)
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  26. Dal mondo dell'arte al regno delle ombre (e ritorno). Arthur Danto, Maya Lin e la bellezza interna.Filippo Fimiani - 2010 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 3 (2).
    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 (...)
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  27. L'art Désœuvré, Modes D'Emploi. Entre Esthétique Et Théorie de la Restauration.Filippo Fimiani - 2011 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 4 (1):52-72.
    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 (...)
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  28.  63
    Faits et valeurs en esthétique: approches et enjeux actuels.Filippo Fimiani, Jacinto Lageira, Barbara Formis & Evangelos Athanassopoulos - 2016 - Nouvelle Revue d'Esthétique 2 (18):5-9.
    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 (...)
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  29. Cose debitrici. Credenze, atmosfere, arte.Filippo Fimiani - 2011 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 4 (2):137-174.
    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 (...)
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  30.  45
    Disagreement and the Normativity of Truth Beneath Cognitive Command.Filippo Ferrari - 2014 - Dissertation, University of Aberdeen
    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 (...)
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  31.  29
    Anti-mémoires. Noms, reflets et écritures.Filippo Fimiani - 2016 - IMAGES RE-VUES 5:1-32.
    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 (...)
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  32.  39
    Lo sguardo a picco: Sul sublime in Filostrato.Filippo Fimiani - 2002 - Studi di Estetica 26:147-170.
    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 (...)
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  33. Poetiche E Genealogie Claudel, Val'ery, Nietzsche.Filippo Fimiani (ed.) - 2000 - Liguori.
    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 (...)
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