Geographical economics (also known as the ‘new economic geography’) is an approach developed within economics dealing with space and geography, issues previously neglected by the mainstream of the discipline. Some practitioners in neighbouring fields traditionally concerned with spatial issues (descriptively) characterized it as—and (normatively) blamed it for—intellectual imperialism. We provide a nuanced analysis of the alleged imperialism of geographical economics and investigate whether the form of imperialism it allegedly instantiates is to be resisted and on what grounds. From both descriptive (...) and normative perspectives, our conclusion is: yes and no. (shrink)

The paper reviews the philosophical literature on the epistemology of modelling in contemporary economics. In particular, it focuses on open questions concerning the epistemic role of models, the validity of inferences from the models to the world, and the legitimacy of their use for purposes of explanation, prediction and intervention.

After noting the absence of a mutual confrontation, the aim of this research has been redefined in reconstructing the influence of Habermas’ writings on the work of Zygmunt Bauman – an aspect known to scholars of the Polish sociologist but not very well recognized in the international sociological community. Following a philological and critical literary approach, the Baumanian interpretations – selective, discontinuous and, often, erroneous – have been systematized into two main topics: 1) the epistemological foundations of social theory; 2) (...) the normative foundations of critical theory (and the relationship with praxis). Bauman; Habermas; sociology; (post)modernity; praxis Dopo aver constatato l’inesistenza di un reciproco confronto, lo scopo della ricerca si è ridefinito nel ricostruire l’influenza degli scritti di Habermas sull’opera di Zygmunt Bauman – un aspetto noto agli studiosi del sociologo polacco ma poco conosciuto nella comunità socio-logica internazionale. Seguendo un approccio filologico e critico letterario, le interpretazioni baumaniane – selettive, discontinue e, spesso, erronee – sono state sistematizzate in due principali temi: 1) i fonda-menti conoscitivi della teoria sociale; 2) i fondamenti normativi della teoria critica (e il rapporto con la prassi). -/- Parole chiave: Bauman; Habermas; sociologia; (post)modernità; prassi -/- In "Zygmunt Bauman. I cancelli dell’acqua", a cura di Riccardo Mazzeo. Maria Caterina Federici, Editoriale. Bauman e dell’incertezza Riccardo Mazzeo, Premessa. I cancelli dell’acqua Riccardo Mazzeo, Introduzione. Il pendolo di Zygmunt Bauman - Mauro Magatti, Siamo ancora nella modernità liquida? Un esercizio di sociologia baumaniana - Benedetto Vecchi, La missione impossibile di Zygmunt Bauman - Vanni Codeluppi, Bauman: il consumo come compito - Raffaele Federici, Forme e impressionismo nel disagio della postmodernità - Vincenzo Romania, Zygmunt Bauman e la modernità dell’Olocausto: fra crucialità delle domande e debolezza delle risposte - Daniele Francesconi, Zygmunt Bauman. L’intellettuale sulla scena - Claudio Tugnoli, La morte di "terzo grado" come stile di vita. Esorcismi della paura nell’opera di Zygmunt Bauman - Sabina Curti, Paura liquida e ruolo degli intellettuali in Zygmunt Bauman - Luca Corchia, Bauman e Habermas su teoria e prassi. Alle origini di un confronto incompiuto - Marta Carlini, Jakub Pichalski, Bibliografia ragionata degli scritti italiani di e su Zygmunt Bauman - Federico Batini, Giulia Toti, Una scuola per tutti? Riflessioni a margine di "Conversazioni sull’educazione" Recensioni. (shrink)

The question of how people change artworks is important for the metaphysics of art. It’s relatively easy for anyone to change a painting or sculpture, but who may change a literary or musical work is restricted and varies with context. Authors of novels and composers of symphonies often have a special power to change their artworks. Mary Shelley revised Frankenstein, and Tchaikovsky revised his Second Symphony. I cannot change these artworks. In other cases, such as those involving jazz standards and (...) folk songs, performers and ordinary folks have more power to change artworks. My preferred explanation of these facts is the created-abstract-simples view, according to which literary and musical works, unlike paintings and sculptures, are created abstract objects that have no parts. On this view, the way to change a literary or musical work is for an individual, empowered by social practices, to change rules about how a literary work should be published or a musical work should be performed. A. R. J. Fisher and Caterina Moruzzi object that the created-abstract-simples view doesn’t allow for literary and musical works to genuinely change, and Nemesio Garcia-Carríl Puy objects that the view doesn’t allow for these artworks to be repeatable. This paper clarifies the created-abstract-simples view and defends the view against these objections. -/- . (shrink)

Il Tractatus de praedestinatione et de praescientia Dei respectu futurorum contingentium, composto da Guglielmo di Ockham tra il 1321 e il 1324, costituisce uno snodo cruciale nelle discussioni medievali sul tema del fatalismo teologico e sulle questioni che vi sono implicate, come la conoscenza dei futuri contingenti e il compatibilismo tra prescienza divina e libero arbitrio. Raccogliendo e ripensando fonti di diversa provenienza, Roberto Grossatesta e Pietro Lombardo in primis, il Venerabilis inceptor sposta il problema sul piano epistemologico e (...) linguistico, affrontandolo dal punto di vista di un’analisi proposizionale degli enunciati che parlano dei contingenti futuri. In questo modo egli affida agli strumenti dell’argomentazione logica e dell’indagine semantica il compito di sciogliere le implicazioni teologiche della questione, in una teoria che garantisca al contempo la prescienza di Dio e la libera volontà umana. Il principio della soluzione ockhamiana, che costituirà un punto di riferimento – pro o contro – nei dibattiti teologici del XIV secolo, consiste nell’intreccio tra analisi proposizionale e logica fidei, in nome di una soluzione pragmatica del dilemma compatibilista: come mostra il caso esemplare della profezia, gli enunciati della scienza divina costituiscono i postulati di una logica della credenza che poi procede da quelle premesse, attraverso una catena argomentativa, a formulare i precetti che guideranno i passi del cristiano nel mondo. Il volume rende disponibile per la prima volta al lettore non soltanto la prima traduzione in italiano del Tractatus, ma anche un ricco apparato di testi (le distinctiones 38, 39 e 40 dell’Ordinatio, i capitoli 7 e 27 della Summa Logicae, la quaestio IV.4 dei Quodlibeta, le Quaestiones in Libros Physicorum 41 e 44, il prologo della Expositio in libros Physicorum e un estratto dalla Expositio in Librum Perihermeneias Aristotelis) che consente di ricostruire in modo coerente una teoria ockhamiana della contingenza e di gettare luce su una nuova interpretazione del pensiero del teologo e filosofo inglese. (shrink)

Philosophy has long either dismissed or paid only minimal attention to creativity, and even with the rise of research on imagination, the creative imagination has largely been ignored as well. The aim of this volume is to correct this neglect. By bringing together existing research in various sub-disciplines, we also aim to open up new avenues of research. The chapters in Part I provide some framing and history on the philosophical study of imagination and creativity, along with an overview of (...) the empirical literature. Part II explores imagination and creativity as they manifest in, and in turn shape, the individual. Part III surveys the role of imagination and creativity across a wide variety of artistic domains, and the chapters of Part IV turn to societal domains. Part V focuses on the interplay of imagination and creativity with regard to particular features of creative subjects and different kinds of creative subjects. *** -/- Part I: Theories and Approaches 1. Theories of Imagination (Peter Kung) 2. Theories of Creativity (Julia Langkau) 3. Historical Treatments of Imagination in the Western Tradition (Lucia Oliveri) 4. Historical Treatments of Creativity in the Western Tradition (Elliot Paul) 5. Non-Western Treatments of Imagination (Reza Hadisi and Jing Iris Hu) 6. Non-Western Treatments of Creativity (Nicolas B. Verger and Vlad Glăveanu) 7. Empirical Treatments of Imagination and Creativity (Dustin Stokes) 8. Experimental Philosophy of Imagination and Creativity (Michael T. Stuart) 9. The Relationship between Imagination and Creativity (Margherita Arcangeli) -/- Part II: Imagination and Creativity in Mind and Action 10. Imagination, Creativity, and Skill (Amy Kind) 11. Imagination, Creativity, and Attention (Bence Nanay) 12. Imagination, Creativity, and Agency (Caterina Moruzzi) 13. Imagination, Creativity, and Emotion (Julien Deonna and Fabrice Teroni) 14. Imagination, Creativity, and Embodiment (Adriana Clavel-Vázquez and María Jimena Clavel Vázquez) 15. Imagination, Creativity, and Gender (Luke Roelofs) 16. Imagination, Creativity, and Race (Nicholas Whittaker) 17. Imagination, Creativity, and Child Development (Thalia Goldstein, Anna Sofia Caruso, Darian Stapleton, and Lamin Fatty) -/- Part III: Imagination and Creativity in the Arts 18. Imagination, Creativity, and the Visual Arts (Claire Anscomb) 19. Imagination, Creativity, and Music (Matteo Ravasio) 20. Imagination, Creativity, and Fiction (Hannah H. Kim) 21. Imagination, Creativity, and Dance (David Davies and Anna Pakes) 22. Imagination, Creativity, and the Culinary Arts (Patrik Engisch) 23. Imagination, Creativity, and Film (Murray Smith) 24. Imagination, Creativity, and Acting (Tzachi Zamir) 25. Imagination, creativity, and fashion (Laura T. Di Summa) -/- Part IV: Imagination and Creativity in Society 26. Imagination and Creativity in the Scientific Realm (Alice Murphy) 27. Imagination and Creativity in the Moral Realm (Tim Mulgan) 28. Imagination and Creativity in the Political Realm (Avshalom Schwartz) 29. Imagination and Creativity in the Law (Maksymilian Del Mar) 30. Imagination and Creativity in the Religious Realm (Neil Van Leeuwen) 31. Imagination and Creativity in Business (Eric Peterson) 32. Imagination and Creativity in Times of Crisis (Jennifer Fraser and Noah Stemeroff) Part V: Emerging Issues in Imagination and Creativity Research 33. Imagination, Creativity, and Aphantasia (Andrea Blomkvist) 34. Imagination, Creativity, and Neurodivergence (Sofia Ortiz-Hinojosa) 35. Imagination, Creativity, and Non-Human Animals (Henry Shevlin) 36. Imagination, Creativity, and Artificial Intelligence (Peter Langland-Hassan) 37. Collective Imagination and Collective Creativity (Nick Wiltsher) . (shrink)

A cura di Ignazio Licata, Ammar J. Sakaji Jeffrey A. Barrett, Enrico Celeghini, Leonardo Chiatti, Maurizio Consoli, Davide Fiscaletti, Ervin Goldfain, Annick Lesne, Maria Paola Lombardo, Mohammad Mehrafarin, Ronald Mirman, Ulrich Mohrhoff, Renato Nobili, Farrin Payandeh, Eliano Pessa, L.I Petrova, Erasmo Recami, Giovanni Salesi, Francesco Maria Scarpa, Mohammad Vahid Takook, Giuseppe Vitiello This volume comes out from an informal discussion between friends and colleagues on the answer:what topic do you think as fundamental in theoretical physics nowadays? Obviously wereceived different (...) answers according to the disposition and the different research areas, and answersin superposition state too. And yet some attractors have emerged pointing out the keys forthe Physicists conception of Nature, all of them converging towards a group of stronglyinterconnectedproblems. Let's see them one by one:. The concept of particle identity in Quantum Mechanics (QM) and Quantum Field Theory (QFT);. The relationship between QM and QFT, in particular the non -local aspects in Field Theory andthe problem of non-perturbative solutions;. The local/global problem in the relationship between particle physics and cosmology;. The role of Renormalization group in describing the meso and macroscopic emergent behaviour;. The possible extension of Poincaré symmetry group and Quantum cosmology;. Higgs "mechanism" and the origin of mass. (shrink)

Tullmann et Buckwalter (2014) ont récemment soutenu que le paradoxe de la fiction tenait plus de l’illusion que de la réalité. D’après eux, les théories contemporaines des émotions ne fourniraient aucune raison d’adopter une interprétation du terme « existence » qui rende les prémisses du paradoxe incompatibles entre elles. Notre discussion a pour but de contester cette manière de dissoudre le paradoxe de la fiction en montrant qu’il ne prend pas sa source dans les théories contemporaines des émotions. Bien plutôt, (...) son origine se situe dans ce que Radford (1975) décrit comme une incohérence dans nos réactions émotionnelles aux évènements fictionnels et non fictionnels. Malgré ce désaccord, nous concédons à Tullmann et Buckwalter qu’une solution satisfaisante au paradoxe de la fiction doit s’appuyer sur les théories des émotions. Ainsi, en guise de conclusion, nous expliquons comment il convient de comprendre l’incohérence en question et comment les théories des émotions pourraient contribuer à la résolution du paradoxe de la fiction. (shrink)