This book consists of an edited collection of original essays of the highest academic quality by seasoned experts in their fields of cognitive science. The essays are interdisciplinary, drawing from many of the fields known collectively as “the cognitive sciences.” Topics discussed represent a significant cross-section of the most current and interesting issues in cognitive science. Specific topics include matters regarding machine learning and cognitive architecture, the nature of cognitive content, the relationship of information to cognition, the role of language (...) and communication in cognition, the nature of embodied cognition, selective topics in visual cognition, brain connectivity, computation and simulation, social and technological issues within the cognitive sciences, and significant issues in the history of neuroscience. This book will be of interest to both professional researchers and newer students and graduate students in the fields of cognitive science—including computer science, linguistics, philosophy, psychology and neuroscience. The essays are in English and are designed to be as free as possible of technical jargon and therefore accessible to young scholars and to scholars who are new to the cognitive neurosciences. In addition to several entries by single authors, the book contains several interesting roundtables where researchers contribute answers to a central question presented to those in the focus group on one of the core areas listed above. This exciting approach provides a variety of perspectives from across disciplines on topics of current concern in the cognitive sciences. (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)

Argentine historiography in general, and the history of the Argentine Left in particular, does not receive the attention it deserves in the Anglo-Saxon academic world, due to linguistic and cultural barriers. In this article, we attempt to review for the English-reading public three recent contributions to the history of Marxism in Argentina (Horacio Tarcus's Marx en la Argentina: Sus primeros lectores obreros, intelectuales y científicos, Hernán Camarero's A la conquista de la clase obrera: Los comunistas y el mundo del trabajo (...) en la Argentina, 1920–1935 and Osvaldo Coggiola's Historia del trotskismo en Argentina y América Latina) covering the entire historical spectrum from the early history of Argentine socialism to the history of the PCA and, finally, to the history of local Trotskyism. We attempt to place these works in the context of Argentine historiography and of the political context in which those books were written. (shrink)