A discussion of distinct usages of the term reciprocity in philosophy of language, ethics, logic, anthropology and game theory.

It was the summer of 1984, the American dollar was strong, and this was my first venture to Europe. I found her and didn't even know I was searching for her. Mysteriously she crossed my path one day in Rome. I should confess though- at this point in my life, I am an uneasy Protestant.

The concept of modes of existence of semiotic entities underlies (post)Greimasian semiotics, yet it seems to have received little attention. Modes of existence can be used in different senses. For Greimas, from the perspective of narrative semiotics, when Michelangelo first receives a block of marble and decides to sculpt the David, his intention is in a virtual mode; as Michelangelo progresses he ends up bringing the David into existence, and his intention comes to the realized mode. In Fontanille’s (...) tensive semiotics, however, modes of existence can have to do with how one can narrow or broaden the scope of our apprehension of the David as our eyes look at it in order to produce a meaningful experience. In this work, the perspectives of narrative and tensive semiotics are contrasted both theoretically and practically applying both to a number of examples. In order to identify all possible modes of existence and all the possibilities of transitioning from one to the other in the examples presented, we resort to the method of finite-state automata from computer science. In the end, we propose a robust narrative account of modes of existence that relies on narrative semiotics for its definition, but into which intent and apprehension from tensive semiotics can be integrated. This work calls for the need of establishing a syntax of modes of existence, since both Greimas and Fontanille construe them as being necessary to account for the production of signification. (shrink)

Chung Kuo, Cina, a documentary film by Michelangelo Antonioni, aroused fierce criticism both in China and in Europe when it was released in 1973. While these objections contradicted one another, they all share a conceptual core : the notion of realism understood in a Marxian sense as a critical representation of reality. Yet by refusing to grant a coherent and essentialist meaning to its images, Chung Kuo, Cina problematizes the presuppositions of such an understanding of realism. In this way, (...) the film anticipates some of its intrinsic difficulties and inaugurates a new form of criticism. -/- À sa sortie en 1973, le film documentaire Chung Kuo, Cina de Michelangelo Antonioni a provoqué des critiques farouches aussi bien en Chine qu’en Europe. Bien qu’elles se contredisent entre elles, ces objections se rejoignent toutes dans un noyau conceptuel autour de la notion de réalisme, entendu au sens marxiste comme représentation critique de la réalité. Cependant, en refusant d’accorder un sens cohérent et essentialiste à ses images, ce film permet de problématiser les présupposés de cette compréhension même du réalisme. Il préfigure ainsi certaines difficultés qui lui sont inhérentes et permet de concevoir une autre manière d’entendre la critique. (shrink)

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

Translator's introduction to Leibniz's correspondence with Michelangelo Fardella.

A number of recent studies have called into question the traditional interpretation of Leibniz as an idealist beginning, at the latest, with the composition of the Discourse on Metaphysics (1686). In particular, in a recent book Daniel Garber affirms that between the late 1670s and late 1690s Leibniz maintains a realist doctrine according to which the created world is populated with extended corporeal substances. In trying to prove his thesis, Garber appeals to a document written in 1690 where Leibniz, addressing (...) an objection by Michelangelo Fardella, denies that bodies are composed of souls, declares that souls are substantial forms, and affirms that bodies are composed instead of substances. According to Garber, this shows that Leibniz then believed that bodies were composed, not of simple substances, but of extended substances possessing souls. Here I try to show that, to the contrary, the mentioned document (along with two others closely associated with it) support the traditional interpretation of Leibniz as an idealist in 1690. (shrink)

Since the stone age humankind has created masterworks which possess a mysterious quality of solidity and grandeur or monumentality. A Paleolithic Venus and a still life by Cezanne both share this monumentality. Michelangelo likened monumentality to sculptural relief, Braque called monumentality 'space', and Hans Hoffman, himself one of the masters, called monumentality 'pictorial depth.' The masters agreed on the import of monumentality, but none of them left a clear explanation of it. In 1943 Earl Loran published his classic book (...) on Cezanne's pictorial structure but, as I demonstrate, his explanation was misleading. This book provide a clear explanation, as did an earlier book by Robert Casper. This book also traces some history of monumentality with reproductions. It also explains how some painters achieved monumentality and how a student can attempt it. Pictorial space is created in the tension between pairs of opposing planes. Opposing planes pull against each other, each containing the other, paradoxically, within the flat surface of the canvas. Sculpture also can be 'plastic': opposing masses pull against each other, each containing the other and creating tension in the space which lies between them. Painting has other aspects like subject matter, expression, style and technique but pictorial space does not depend on these. Monumentality moves us profoundly and apparently has done so since the Paleolith. Using patients' vignettes, I show that there are profound parallels between the structure of a monumental work of art and the structure of an evolving personality. In Winnicott's words, such a personality has 'depth ... an interior space to put beliefs in ... an inside ... a space where things can be held ... the capacity to accept paradox [to contain opposites] ... room and strength ... and originality and the acceptance of tradition as the basis for invention'. A monumental painting also meets this description. I argue that monumental art provides a visual portrait of an evolving personality just as myth, as Freud and Jung both showed, provides a narrative portrait of an evolving personality. An evolving personality is perhaps humankind's most important creation; an underlying purpose of both myth and art is to help us achieve it. I demonstrate in this book that monumental art represented the evolving personality since at least 35,000 BC. Thus to understand monumentality is to better understand the personality and its history. (shrink)

This contribution proposes how beholders may internally process unfinished works of art. It does so by considering five of Michelangelo Buonarroti’s interrupted sculptures and pointing out their empathic and imaginative potential. The beholder focused on the surface, I propose, is inclined to mentally simulate the artist’s gesture that drafted the sculptures through the visible graphic signs of the chisels. This inner simulation takes place within the activation of various brain networks, located in the brain’s motor system. Renaissance authors associated (...) the observation of the unfinished to learning and, as this article shows, this assumption seems to find confirmation in recent neuroscientific studies on mirror neurons and imitation learning. In this way, the empathic engagement established between the beholder and the work of art observed – as well as the role played by embodied simulation and imagination in this kind of visual perception – clarifies how the incompleteness can also have that pedagogical function recognised by Giorgio Vasari and Benvenuto Cellini. (shrink)

Nella sua riflessione filosofica sull’immagine filmica Gilles Deleuze sembra aver tradotto nella maniera più immediata, ancorché insolubilmente problematica, la presenza di uno spazio e di un tempo che giocano il proprio ruolo su di una forma passiva di soggettività: è proprio ne L’image- mouvement, infatti, che Deleuze mostra come uno dei passaggi più proficui delle sue osservazioni sul cinema sia proprio la crisi di ciò che egli definisce immagine-azione, a favore, invece, di un’immagine-tempo, o situazione ottica e sonora pura. Per (...) quanto attiene specificamente lo statuto filosofico dell’immagine, si può dire che sia proprio questo passaggio che consente a Deleuze stesso di modulare la sua riflessione riponendo maggiore attenzione all’elemento temporale rispetto invece al movimento — concetto dal quale, ciononostante, l’indagine sul cinema aveva preso abbrivio. (shrink)

This paper is a first publication on my ongoing research on the sources of the extant doxographies on Stoic ethics. It argues that there are identifiable traces of a copy-and-paste strategy in the “Outline of Stoic Ethics” generally attributed to Arius Didymus and transmitted in Johannes Stobaeus’ Anthology. The author of the Outline took extant doxographic texts and supplemented it by inserting additional material. The editing process also resulted in transpositions, omissions, and rewriting to connect the original material with the (...) accretions to it. This kind of source criticism is important because sometimes there is still an identifiable train of thought that can be restored, and the relation of parallel accounts, their sources, and the choices of individual source authors can be spelled out more precisely. (shrink)