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.

In a recent special issue dedicated to Dani Rodrik’s (2015) influential monograph Economics Rules, Grüne-Yanoff and Marchionni (2018) raise a potentially damning problem for Rodrik’s suggestion that progress in economics should be understood and measured laterally, by a continuous expansion of new models. They argue that this could lead to an “embarrassment of riches”, i.e. the rapid expansion of our model library to such an extent that we become unable to choose between the available models, and thus needs to (...) be solved to make ‘model pluralism’ viable. Drawing on Veit’s (2019a) ‘model pluralism’ account, this paper argues that model pluralism as a thesis about the relationship between science and nature undermines the very idea of a general model selection framework for policy making. (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)

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)

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)