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.

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.

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 distance mais comportent une part importante de discernement humain, il s’agit de machines programmées pour défendre, attaquer, ou tuer de manière autonome. Les auteurs, philosophes, préfèrent prévenir de leur prochaine diffusion et obtenir des Nations Unies leur régulation. Une campagne internationale propose plutôt leur interdiction. (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)

“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 (...) Péguy también lo ilustran, la experiencia de los hombres contemporáneos es pobre y enferma y se caracteriza por una duplicidad radical y una contradicción sin síntesis. No sólo las cosas, como además lo muestra en sus análisis sobre las mercancías como nuevos jeroglíficos que marcan el espacio saturado de la metrópolis, sino también el hombre es doble, así como su corporizada y profundamente fisiológica economía. Su estómago hambriento tiene dos caras, porque todo lo toma pero no nutre en absoluto; vocifera acerca de entusiasmos varios y heterogéneos, no sobre un verdadero alimento para ser absorbido y transformado. En resumen, vive por un instante sin pasado ni futuro. El opuesto de esta lógica de la enfermedad y la insensibilidad en busca de muchas sensaciones y shocks sensacionales, y el reverso de este olvido por rapidez excesiva, es un ser anti- o incluso premoderno en extremo. En los tiempos modernos, el entrenamiento de un criticismo genuino acerca de los prejuicios y el supuesto auto-conocimiento implican una regresión y una alteración de las propias identidades históricas, las creencias y los valores. Finalmente, como Benjamin y Warburg lo revelaron, el criticismo es como tornarse otra vez animal y la interpretación es como recuperar la lentitud y la melancolía de un eterno masticar, al igual que un perro o una vaca. (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)

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 article presented the apophatism of Pseudo-Dionysius the Areopagite, a mystical knowledge as refusing determine God as an objective concept and requires the abandonment of formulations that dare quit the Divine Mystery into categories. Therefore, it was necessary to discuss the principle, the difference between the apophaticism own ousia of Scholastic concludes that by reason of the impossibility of knowledge of the “substance” of the Absolute and the persona of the Areopagite concluded that, from personal a relationship and / existential (...) or establish with God, that He cannot be exhausted in noetic formulations of thought. In this sense, the apophatism presents as mystical resignation or a way of overcoming the knowledge of God, which is in the darkness and silence far away from all conceptual idolatry that dare to define Him; unless the symbolic language concluded from their phanias. Understood as mystical renunciation, this apophatism possible to understand God as the “Nothing of all that is” and how “Unnamed Name”; i.e., its nihility and your anonymity. KEYWORDS. (shrink)

Este artigo considera a contribuição de Baruch Espinosa a uma teoria do poder constituinte. Teorias modernas do poder constituinte geralmente concordam em sua essência paradoxal: um poder que vem antes da lei e funda a lei é ao mesmo tempo um poder que, uma vez que a esfera jurídica é estabelecida, tem de ser obliterado pela lei. A ontologia de Espinosa tem sido reconhecida como uma das primeiras fontes modernas do poder constituinte, no entanto, ele argumenta por uma equivalência estrita (...) entre poder e lei. Este artigo defende que ao ler a teoria política de Espinosa através das lentes de uma imanência radical entre ontologia e história, podemos entendê-lo como uma fonte para a teoria do poder constituinte. Também defende que, através dessa imanência, o pensamento de Espinosa oferece uma solução para o paradoxo do poder constituinte e enriquece as discussões contemporâneas sobre a origem da esfera jurídica e a relação entre política e lei. (shrink)

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 (...) in more detail on moral universalism, on religion without metaphysics, toleration, and pacifism. -/- Table of contents I. Before the text A trick for priests A scandalous book Garden with view -/- II. Text Candide or optimism -/- III. Context Biography 1. The seven years war 2. Calvinists and Socinians 3. Jiansenists and Gesuits 4. Marranos and inquisitors 5. Conquistadores and slave-traders 6. Paraguay under the Jesuits -/- IV. Co-text 1. Enlightenment and Metaphysics 1.1. Theology 1.2. Free choice 1.3. The problem of evil 1.4. Being happy in an imperfect world -/- 2. Enlightenment and morality 2.1. Universal morality 2.2. Religion without Metaphysics 2.3. Toleration 2.4. Pacifism -/- 3. Enlightenment and the images of other places 3.1. The image of Eldorado 3.2. The image of Paraguay 3.3 The image of the Islamic world 3.4. The image of the Jew -/- 4. The conte philosophique -/- Bibliography Lexicon Index of names and concepts -/- V. Reader’s guide. (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)

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)

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)

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 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 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)

According to the recent Perceptual Confidence view, perceptual experiences possess not only a representational content, but also a degree of confidence in that content. The motivations for this view are partly phenomenological and partly epistemic. We discuss both the phenomenological and epistemic motivations for the view, and the resulting account of the interface between perceptual experiences and degrees of belief. We conclude that, in their present state of development, orthodox accounts of perceptual experience are still to be favoured over the (...) perceptual confidence view. (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)

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)

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)

In a series of recent experimental philosophy articles, Florian Cova and colleagues have cast doubt on the existence of a traditional tension that aestheticians since Hume and Kant have noted in our aesthetic judgements and practices, viz. the paradox of taste. We argue that Cova et al. misrepresent the way in which the aesthetics tradition has conceived the paradox of taste, and question the relevance of their experiments for the existence of the paradox of taste as traditionally understood in aesthetics.

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)

En 1968 Raquel Carson comenzaba una revolución en el pensamiento, quizá una de las de mayor peso en la actualidad. En su libro "La primavera silenciosa" acusaba del deterioro ambiental al poder ilimitado del ser humano. La creencia surgida en la modernidad de que todo lo que el hombre decidía era en sí mismo lo mejor por haber sido fruto de una voluntad libérrima, daba primacía y legitimidad absoluta a su acción sobre la naturaleza. Surgieron con gran fuerza numerosos grupos (...) ecologistas que adoptaron un pensamiento que responde al nombre de "ecología profunda" o "Deep Ecology" descrito por primera vez por Arme Naess en un artículo publicado por la revista Inquiry y titulado "The Shallow and the Deep, Long Range Ecology Movement". Los principios que proponía este movimiento (Naess 1984) pueden ser resumidos en ocho grandes puntos: 1) la vida de los seres no humanos es un valor en sí: 2) la riqueza y la diversidad de estas formas de vida son también valores en sí; 3) los seres humanos no pueden intervenir de manera destructiva en la vida; 4) a este respecto, la intervención humana actual es eminentemente excesiva; 5) por consiguiente, las reglas de juego deben ser radicalmente modificadas; 6) esta modificación radical debe hacerse tanto a nivel de las estructuras económicas como de las estructuras ideológicas y culturales; 7) a nivel ideológico, el cambio principal consiste en apreciar más la calidad de la vida que el goce de los bienes materiales; 8) las personas que acepten estos principios tienen la obligación de contribuir, directa o indirectamente a la realización de los cambios fundamentales que aquellos implican. (shrink)

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)

La matematica viene generalmente considerata uno degli ambiti più affidabili dell’intera impresa scientifica. Il suo successo e la sua solidità sono testimoniati, ad esempio, dall’uso imprescindibile che ne fanno le scienze empiriche e dall’accordo pressoché unanime con cui la comunità dei matematici delibera sulla validità di un nuovo risultato. Tuttavia, dal punto di vista filosofico la matematica rappresenta un puzzle tanto intrigante quanto intricato. Philosophy of Mathematics di Ø. Linnebo si propone di presentare e discutere le concezioni filosofiche della matematica (...) che hanno dominato la scena da Frege ai giorni nostri. (shrink)

Nell’ambito della filosofia della scienza, il dibattito tra realismo scientifico e antirealismo scientifico ricopre un ruolo di straordinaria importanza. In questo ambito, le posizioni filosofiche elaborate non sono poche. The Instrument of Science di Darrell P. Rowbottom presenta e difende una nuova variante della celebre posizione nota come strumentalismo, di chiaro orientamento antirealista. Questa nuova proposta viene denominata strumentalismo cognitivo (cognitive instrumentalism). Nello specifico, gli obbiettivi dell’autore sono due: definire in modo preciso lo strumentalismo cognitivo, chiarendone le tesi costituenti, e (...) mostrare che questa visione è almeno tanto plausibile quanto lo sono le più accreditate teorie realiste della scienza. (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)

Graham Priest, ampiamente considerato una figura di tutto rilievo nel panorama filosofico contemporaneo, è conosciuto prevalentemente per i suoi contributi nel campo delle logiche non-classiche, e per essere uno dei fondatori della controversa tesi filosofica denominata dialeteismo. Non sorprende che, come per molti degli autori che vengono comunemente inseriti nella tradizione analitica, due delle aree in cui il suo pensiero è stato più fecondo siano la logica e la metafisica. Ciò che sorprende, invece, è la sua capacità di usare le (...) teorie formali e le tesi metafisiche da lui stesso concepite come via di accesso per terreni filosofici normalmente considerati distanti da quello anglosassone. In particolare, sono numerose le occasioni in cui l’attenzione di Priest si è rivolta ad Oriente, e più nello specifico al Buddismo. The Fifth Corner of Four, il suo ultimo libro, può essere considerato a buon diritto la manifestazione più evidente di questo grande e perdurante interesse. (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.

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)

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.

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)

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)

“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, (...) and different ways of para-textual activation, entitle and unable us to such an operation and to live an aesthetic relation? This issue of “Aisthesis” explores the conditions under which it could be useful to distinguish between aesthetic objects and artworks–visual, musical, literary, performing arts– and to admit that the existence of the latter depends on a marginal and basic component of them: tags. The issue contains articles by Jerrold Levinson, Bernard Sève, Filippo Focosi, Alberto Voltolini, Giulia Alberti, Pietro Kobau, Jean-Pierre Cometti, Isabelle Thomas-Fogiel, Filippo Fimiani, Bertrand Rougé, Leardo Botti, Michel Déguy, Jean-Marie Klinkenberg, Micla Petrelli, Andrea Olivieri, Alessandro Ottaviani. (shrink)

Estamos siendo testigos de grandes avances tecnológicos y, a la vez, de grandes desastres naturales y sociales que nos impulsan a plantearnos cuáles son las causas últimas de la degradación natural ecológica. El abuso en el uso de los recursos tal vez pueda tener relación con el abuso en el uso de la tecnología; incluso ser causa de la gran desigualdad social en el acceso a bienes necesarios para llevar una vida digna, raíz de muchos conflictos sociales. La ecología es (...) una disciplina científica, pero cada vez es más habitual ampararse en este término para lanzar opiniones o generar un debate de ideologías de índole catastrofista que no hacen más que generar malestar social sin visos de solución práctica. Las reflexiones sobre la ecología nos parece que deben plantearse de una forma interdisciplinar, pero no de cualquier manera, sino respetando el estatuto epistemológico de cada área del saber. Cuidar el método científico, en el ámbito científico; el filosófico, en el suyo propio; e incluso el teológico. El tema de nuestra relación con la naturaleza nos afecta tan íntimamente que casi todas las áreas del conocimiento pueden decir algo al respecto. En el presente trabajo comenzamos ese diálogo y presentamos las ideas básicas desde las que se podría plantear un modo de actuar humano respetuoso para con los demás hombres y los demás seres de la naturaleza, que mejore nuestro modo de vivir y evite más daños y perjuicios. A esto nos referimos cuando hablamos de “ética ambiental”. La ecología nos toca de cerca porque tiene que ver con el modo de habitar nuestro mundo y las relaciones que tenemos con los demás seres vivos y no vivos. A fin de poder delinear las líneas principales de una ética orientada al medioambiente es preciso, en primer lugar, conocer los datos científicos sobre el tema; en segundo lugar, analizar los problemas graves que se están detectando y comprender que muchas de sus causas todavía son desconocidas y precisan de un estudio más detenido; finalmente, es conveniente revisar las alternativas de solución que nos orienten a llevar una vida mejor, donde se sugieran modos de obrar que no nos cierren el camino hacia ese destino común que tenemos como seres humanos, y que integre al resto de criaturas porque no somos los únicos seres vivientes del planeta. La propuesta de una “ética ambiental” apunta a considerar un verdadero “ecologismo solidario”. (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)

Louise Chapman, Filippo Contesi and Constantine Sandis ask whether philosophy has a language problem.

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)

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)

Resumo Neste artigo, será discutida a noção de “infinitude cardinal” – a qual seria predicada de um “conjunto” – e a noção de “infinitude ordinal” – a qual seria predicada de um “processo”. A partir dessa distinção conceitual, será abordado o principal problema desse artigo, i.e., o problema da possibilidade teórica de uma infinitude de estrelas tratado por Dummett em sua obra Elements of Intuitionism. O filósofo inglês sugere que, mesmo diante dessa possibilidade teórica, deveria ser possível predicar apenas infinitude (...) ordinal. A questão principal surge do fato de que parece ser problemático predicar ordinalmente infinitude de “estrelas”. Mesmo diante dessa possibilidade, Dummett sugere que o intuicionista poderia apenas reinterpretar infinitude cardinal como sendo infinitude ordinal. Ora, iremos mostrar que, se Dummett não fornece razões extras que sustentem essa posição, então será difícil interpretar um caso empírico infinitário como sendo também um caso ordinal ou potencial de infinitude. Para resolver esse problema de Dummett, em Brouwer se encontram alguns pressupostos idealistas necessários para argumentar em favor da ideia de que, mesmo em um contexto empírico, como o de uma infinitude de estrelas, poderíamos predicar infinitude ordinal. Então, depois de discutir as duas noções de “infinitude” e apresentar o problema de Dummett, será apresentada a abordagem idealista de Brouwer – a qual pelo menos explicaria de modo mais plausível as razões que poderiam motivar um intuicionista a predicar infinitude ordinal até mesmo de um caso empírico e espacial. (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)

A estrutura argumentativa deste artigo pode ser resumida no seguinte raciocínio: 1) Espinosa foi recorrentemente acusado de eleatismo; 2) há ruptura com o eleatismo quando se admite a multivocidade dos operadores lógicos “é” e “não é”; como se vê, por exemplo, 2.1) na discussão que introduz os Grandes Gêneros no So sta de Platão, e 2.2) em certo uso que Aristóteles faz da doutrina das categorias para exibilizar a versão parmenídica do Princípio de Não-Contradição. 3) Espinosa admite a multivocidade do (...) “é” e do “não-é”. Logo, Espinosa não deve ser colocado entre os eleatas mas sim na irmandade dos suspeitos do chamado parricídio contra Parmênides. Este raciocínio, quase um truísmo, permitirá, não obstante, duas apreciações interessantes: uma acerca de como certa tradição interpretativa da loso a de Espinosa colocou mal o problema da relação da ontologia espinosana com os princípios lógicos; outra acerca do tipo de lógica subjacente à teoria dos modos de percepção ou gêneros de conhecimento. (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.

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)

The aim of the paper is to recall Frank Jackson's 1982 knowledge argument and some prominent objections that were brought against it. Is there a new path we can take in order to bring something new to the table? Is the debate on the argument and its powerful conclusion over?

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)

This work develops a philosophically credible and psychologically realisable account of control that is necessary for moral responsibility. We live, think, and act in an environment of subjective uncertainty and limited information. As a result, our decisions and actions are influenced by factors beyond our control. Our ability to act freely is restricted by uncertainty, ignorance, and luck. Through three articles, I develop a naturalistic theory of control for action as a process of error minimisation that extends over time. Thus (...) conceived, control can serve to minimise the influence of luck on action and enable freedom in uncertainty. -/- In Article 1, Thor Grünbaum and I argue for a psychologically plausible account of the kind of control that is necessary for moral responsibility. We begin by establishing the relationship between agentive contribution and responsibility-level control. One way to determine whether one the right kind and degree of control to be morally responsible is to track one’s degree of contribution to an action. However, a psychologically plausible account of control in terms of agentive contribution may seem to contradict the types of functional-mechanistic explanations used in cognitive science. In cognitive psychology and cognitive neuroscience, personal-level capacities are explained by a set of sub-personal mechanisms. Often, such explanations leave no room for a contribution by the agent. By integrating insights from theories of cognitive control and incorporating them into a philosophical account of intentions, we propose a way of thinking about the distribution of cognitive control resources as something the agent does. -/- Article 2 argues that a classic argument concerning luck, originally aimed at libertarianism, generalises beyond any specific theory of free will, and regardless of whether determinism or indeterminism is true. I call this mental luck. Because we all make decisions under conditions of relative uncertainty and limited information, it is possible for an agent to make decisions that are contrary to their own motivation. In such situations, it may be a matter of luck whether the agent makes the right decision. Mentally lucky decisions are not rationally governed by attitudes within the agent's perspective, and thus, may be indistinguishable from unlucky ones. From the perspective of the agent, such decisions may resemble the outcome of a lottery. Therefore, mental luck poses a challenge to most prominent theories of free action and moral responsibility. -/- Finally, article 3 engages with the issue of resultant luck, namely luck in how things turn out. Resultant luck raises a challenge for theories of moral responsibility because its existence suggests that one may be responsible for factors beyond one’s control. Prominent responses to resultant luck led to a choice between internalism and scepticism. I argue that familiar cases of resultant luck are based on the assumption that actions are events. Instead, I propose an alternative ontology of action as an ongoing goal-directed process with a many-shots structure. Described this way, cases of resultant luck are not representative of ordinary action. The proposal of action as a many-shots process is consistent with predictive coding, a cognitive architecture which centres around error minimisation. Under this framework, cases of resultant more luck are no longer failures of action, but rather anticipated errors to be settled within the ordinary process of action. (shrink)