One of the many notable virtues of Igor Douven's The Art of Abduction is that it is open access. Since a well-written chapter-by-chapter overview of the book is.

In this paper art history and visual studies, the disciplines that study visual culture, are presented as a field whose conjectural paradigm can be used to understand the epistemic problems associated with abduction. In order to do so, significant statements, concepts and arguments from the work of several specialists in this field have been highlighted. Their analysis shows the fruitfulness and potential for understanding the study of visual culture as a field that is interwoven with the assumptions of abductive (...) cognition. (shrink)

The editorial introduces issue 21.1 of Technoetic Arts via a critical reflection on the artificial intelligence hype (AI hype) that emerged in 2022. Tracing the history of the critique of Large Language Models, the editorial underscores that there are substantial ethical challenges related to bias in the training data, copyright issues, as well as ecological challenges which the technology industry has consistently downplayed over the years. -/- The editorial highlights the distinction between the current AI technology’s reliance on extensive pre-existing (...) human-generated data for pattern recognition and the performative process inherent in art practice. Patterns of creative output can be replicated without a thorough understanding of underlying concepts. In contrast, the performative process of art practice, as explored through the conceptual frameworks of creativity by Noam Chomsky, Charles Sanders Peirce, and Roger T. Ames and with reference to an earlier publication of the editorial’s author, creates concepts and continually ‘strives to extend itself towards the unknown.’ -/- Following this introductory section, the editorial provides an overview of the ten articles featured in this issue of Technoetic Arts. The first four texts engage with emerging technologies from various perspectives in art and design. The subsequent six articles, part of a special section titled 'Perspectives from Chandigarh,' reflect a quest for meaningful existence within colonial, patriarchal, and biopolitical structures that frame everyday practices of exclusion and oppression. (shrink)

The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, the (...) central aesthetic properties occur in the artistic artifact itself. It is the painting that is beautiful; the novel that is dramatic. In the process arts, the aesthetic properties occur in the activity of the appreciator. It is the game player’s own decisions that are elegant, the rock climber’s own movement that is graceful, and the tango dancers’ rapport that is beautiful. The artifact’s role is to call forth and shape that activity, guiding it along aesthetic lines. I offer a theory of the process arts. Crucially, we must distinguish between the designed artifact and the prescribed focus of aesthetic appreciation. In the object arts, these are one and the same. The designed artifact is the painting, which is also the prescribed focus of appreciation. In the process arts, they are different. The designed artifact is the game, but the appreciator is prescribed to appreciate their own activity in playing the game. Next, I address the complex question of who the artist really is in a piece of process art — the designer or the active appreciator? Finally, I diagnose the lowly status of the process arts. (shrink)

Listening and polyphony lead us directly to reflection on the musical form of the fugue. Starting with M. Heidegger’s considerations about the juncture of beyng, we will phe-nomenologically ask about the essence of the fugue, and the musical work put under analysis will be The Art of Fugue by J.S. Bach. The article aims to show the convergence between Heidegger’s philosophy and the essence of the musical form of fugue as an artis-tic mode of the essential occurrence of beyng as (...) an event. (shrink)

The primary aim of this chapter is to outline the consensuses that have emerged in recent philosophical works tackling normative questions about responding to immoral artist’s art. While disagreement amongst philosophers is unavoidable, there is actually much agreement on the ethics of media consumption. How should we evaluate immoral artist’s art? Philosophers generally agree that we should not always separate the artist from the art. How should we engage with immoral artist’s art? Philosophers generally agree that we should not always (...) reflexively turn away from them. In turn, these responses reveal that moral value is not autonomous from aesthetic value, and neither dominates the other. The secondary aim of this chapter is to explore the ramifications of this revelation. I argue that, in addition to an ethics of media consumption, we need an aesthetics of media consumption that is fundamentally social rather than solitary. (shrink)

I argue that European schools of thought on memory and memorization were critical in enabling growth of the scientific method. After giving a historical overview of the development of the memory arts from ancient Greece through 17th century Europe, I describe how the Baconian viewpoint on the scientific method was fundamentally part of a culture and a broader dialogue that conceived of memorization as a foundational methodology for structuring knowledge and for developing symbolic means for representing scientific concepts. The principal (...) figures of this intense and rapidly evolving intellectual milieu included some of the leading thinkers traditionally associated with the scientific revolution; among others, Francis Bacon, Renes Descartes, and Gottfried Leibniz. I close by examining the acceleration of mathematical thought in light of the art of memory and its role in 17th century philosophy, and in particular, Leibniz’s project to develop a universal calculus. (shrink)

The ecological crisis is one of the most critical moral concerns of the present. But the concern is not with the environment, or with that which surrounds us; it is not with an objectified nature, in relation to which humans stand as mere passive observers. Rather, ecological concern emerges from recognition that humanity participates in nature, that our behavior in the natural world affects our own present and future as well as the present and future of the biosphere and that (...) we are morally answerable for this behavior, or responsible in, through, and for our participation.1 Understood in these ways, the ecological crisis can be viewed as an unfolding historical process generated by the structural forms and .. (shrink)

This article analyses the moral status of racial profiling from a consequentialist perspective and argues that, contrary to what proponents of racial profiling might assume, there is a prima facie case against racial profiling on consequentialist grounds. To do so it establishes general definitions of police practices and profiling, sketches out the costs and benefits involved in racial profiling in particular and presents three challenges. The foundation challenge suggests that the shifting of burdens onto marginalized minorities may, even when profiling (...) itself is justified, serve to prolong unjustified police practices. The valuation challenge argues that although both costs and benefits are difficult to establish, the benefits of racial profiling are afflicted with greater uncertainty than the costs, and must be comparatively discounted. Finally, the application challenge argues that using racial profiling in practice will be complicated by both cognitive and psychological biases, which together reduce the effectiveness of profiling while still incurring its costs. Jointly, it is concluded, these challenges establish a prima facie case against racial profiling, so that the real challenge consists in helping officers practice the art of the police and not see that which it is useless that they should see. (shrink)

Purpose This paper discusses ethical principles that are implicit in second-order cybernetics, with the aim of arriving at a better understanding of how second-order cybernetics frames living in a world with others. It further investigates implications for second-order cybernetics approaches to architectural design, i.e. the activity of designing frameworks for living. -/- Design/methodology/approach The paper investigates the terminology in the second-order cybernetics literature with specific attention to terms that suggest that there are ethical principles at work. It further relates second-order (...) cybernetics to selected notions in phenomenology, pragmatism and transcendental idealism. The comparison allows for conclusions about the specificity of a second-order inquiry. In line with the thematic focus of this journal issue on the framing of shared worlds, the paper further elaborates on questions relating to the activity of designing “worlds” in which people live with others. -/- Findings The paper highlights that a radical openness toward the future and toward the agency of others is inscribed in the conception of second-order cybernetics. It creates a frame of reference for conceiving social systems of all kinds, including environments that are designed to be inhabited. -/- Originality/value The paper identifies an aesthetics grounded in the process of living-with-others as an ethical principle implicit in second-order cybernetics thought. It is an aesthetics that is radically open for the agency of others. Linking aesthetics and ethics, the paper’s contributions will be of specific value for practitioners and theoreticians of design. Considering second-order cybernetics as a practice generally dealing with designing, it also contributes to the wider second-order cybernetics discourse. (shrink)

Games may seem like a waste of time, where we struggle under artificial rules for arbitrary goals. The author suggests that the rules and goals of games are not arbitrary at all. They are a way of specifying particular modes of agency. This is what make games a distinctive art form. Game designers designate goals and abilities for the player; they shape the agential skeleton which the player will inhabit during the game. Game designers work in the medium of agency. (...) Game-playing, then, illuminates a distinctive human capacity. We can take on ends temporarily for the sake of the experience of pursuing them. Game play shows that our agency is significantly more modular and more fluid than we might have thought. It also demonstrates our capacity to take on an inverted motivational structure. Sometimes we can take on an end for the sake of the activity of pursuing that end. (shrink)

This paper proceeds in two parts. In the first part, I set out Fodor’s concerns about abduction in his recent books, The Mind Doesn’t Work That Way and In Critical Condition. In the second part, I attempt to meet these concerns by suggesting how - within the framework of the Massive Modularity Hypothesis - abduction functions, specifically in the context of means-end reasoning to connect Input Modules and Output Modules. My suggestion will be that natural selection is the (...) Mother of Abductive Inference and that it is evidenced in all sorts of sub-doxastic Means-End Reasoning contexts and for a variety of species. I will eventually discuss two representative cases to illustrate this suggestion: namely, dead reckoning and spatial reorientation. (shrink)

This article presents an analysis of a short treatise entitled Ādāb al-Baḥth wa al-Munāẓarah (The art of discussion and disputation) by the celebrated Ottoman scholar Abu al-Khayr ‘Iṣām al-Dīn Aḥmad ibn Muṣṭafā ibn Khalīl Ṭāshkubrīzādah or Ṭaşköprüzade (d. 968 AH/ 1561 CE). An overview of the nomenclature and a brief introduction about the author and his work will be presented along with an annotated English translation of the text in order to highlight Ṭaşköprüzade’s contribution to this nearly forgotten discipline.

The Art of Logic by Avi Sion is a collection of recent essays on various topics in logic theory and in applied logic. The same faculty and art of logic is called for in formulating theoretical logic and in applying its findings to diverse fields. The essays here collected deal with some very important issues in logic, philosophy, and spirituality, which he had not previously treated in as much detail if at all.

Short overview of the From Small Beginnings Project and its relevance for resisting eugenics in contemporary society.

In the creation of maps, scientific knowledge related to mathematics and physics combines with knowledge specific to graphic or artistic disciplines. Since all maps are artifacts whose aesthetic qualities convey information that simultaneously engages the fields of ontology, epistemology, and politics, they are objects of undeniable interest for philosophical inquiry. Following what has been termed “the cartographic turn in social sciences”, The Art of Mapping Between Land and Mind delves into two intertwining issues. On one side, it examines how the (...) aesthetic properties of maps convey cognitive, cultural, and political meanings. On the other, it explores the role of visual arts in reflecting on cartographic thought, shaping both its methods and motivations. The volume is divided into four sections. Embracing the point of view of both the philosopher and the geographer, the first one sheds light on the relationship between epistemology and cartography (Kukla; Costantini; Tanney). The second addresses mapmaking as an art form (Tanca; Haugdal) or, conversely, considers maps from the perspective of their aesthetic properties (Török; Ogundiwin; Elhaik). The third focuses on the digital condition of today’s cartography (Tschochohei; Quaranta; Keller). Finally, the last section includes two contributions that represent attempts to guide cartography toward its future (Bosca; Ianniello). Opening this issue, a special essay by Elizabeth Povinelli offers a generous précis of her upcoming book. (shrink)

Confirmational holism is at odds with Jeffrey conditioning --- the orthodox Bayesian policy for accommodating uncertain learning experiences. Two of the great insights of holist epistemology are that (i) the effects of experience ought to be mediated by one's background beliefs, and (ii) the support provided by one's learning experience can and often is undercut by subsequent learning. Jeffrey conditioning fails to vindicate either of these insights. My aim is to describe and defend a new updating policy that does better. (...) In addition to showing that this new policy is more holism-friendly than Jeffrey conditioning, I will also show that it has an accuracy-centered justification. (shrink)

This essay begins with the claim that intercultural dialogue is an art rather than a science or technique and it attempts to point out what it takes to learn the art of intercultural dialogue. In PART ONE some basic forms of intercultural dialogue are presented which correlate to some basic forms of human life, such as family, politics, economy, science, art and religion. Also a few common traits about how intercultural dialogue is practised today are specified. PART TWO is pointing (...) out that cultural pluralism is not merely a political ideology, but rather a realistic political attitude towards the social realities in all cultures. Cultural pluralism means to accept that a certain variety of different forms of life is existing already within every culture, country or nation. Further it it argued that any society whether it is governed by a modern democracy or by a more traditional political system, such as a monarchy, needs some ethical, legal and political orientation in order to guarantee civil liberties, but also to limit civil, economic and political freedom. A common normative orientation being based on ethical ideals, principles, norms and values can only be established by philosophy and jurisprudence and neither by science nor by religion and neither by democracy nor by economy alone. Finally, PART THREE presents and discusses shortly a few reflections about three philosophical models of dialogue by Buber, Jaspers and Gadamer which are relevant to intercultural dialogue, to interreligious dialogue and last, but not least to philosophical dialogue. (shrink)

In spite of all the industrious efforts Peirce scholars have made so far, Peirce’s biography still retains a number of gaps, among which the problem of identity of Peirce’s second wife, Juliette Froissy, stands out most significantly. It is all the more important that, as some scholars suggest, the discovery of any reliable facts about Juliette could provide an explanation to some of the decisions Peirce had made, which irrevocably changed the course of his life, as well as his semiotic (...) theory. By courtesy of Professor Dr. Nathan Houser and the Peirce Edition Project, the writer of the present paper was granted access to the archive materials containing the Max H. Fisch — Maurice Auger correspondence and Victor Lenzen’s notes on Juliette. The paper aims at arranging the dispersed data obtained from these and other sources into a set of several distinct versions, which curiously refer to each other and collectively impose a certain order on some major abductions concerning Juliette’s identity. (shrink)

Beginning from Hegel's notion of ethical life (Sittlichkeit) as a mode of consciousness governed by the norms of a historical community, this essay examines the role of education in shaping contemporary communities of autonomous people. It does so by defending a version of the idea that an educator has, among her other tasks, the role of helping her students appreciate the values that are shared across her community. In the course of the examination I relate this idea to trends in (...) the European Enlightenment, and I draw on research concerning political polarization in Europe and North America today and its impact on the academy. In the process I argue that the modern university educator has the task of cultivating in her students an attitude of critical inquiry whose results are not coerced by the social conditions under which that inquiry takes place, and I offer some pedagogical proposals for the university educator facing the situation we are today. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Scrutinizing the Art of TheaterAaron Meskin (bio)IntroductionIn his 1992 address to the American Society for Aesthetics, Peter Kivy suggested that philosophers of art might do best by giving up on “grand theorizing” (that is, pursuing the definition of art).1 In its place he proposed that they pursue the “careful and imaginative philosophical scrutiny of the individual arts and their individual problems.”2 Of course John Passmore and others had said (...) similar things at earlier points,3 but philosophical aesthetics has, it seems to me, finally and robustly taken the turn toward the philosophies of the arts. Much of the best work in philosophical aesthetics over the last fifteen years or so has pursued the route Kivy suggested. James Hamilton’s The Art of Theater is part of this turn—it is careful and imaginative scrutiny of the art of theater done at the very highest level, and I am delighted to have this opportunity to comment on it.4In what follows I shall address a number of issues raised by Hamilton’s work: the definition of theatrical enactment; the place of pretending and imagining in theatrical performance; the nature of Hamilton’s “ingredients model” and its relation to more traditional accounts of the work/performance relation; the account of theatrical style on offer; and the question of what we have learned from experimental theater.But before I move on to address those aspects of the book’s content in detail, let me say something about the pedagogical significance of this work. Although there are a number of legitimate ways to teach introductory courses on aesthetics and the philosophy of art (for example, by following a historical progression or by structuring it around certain key issues), one increasingly attractive option is to teach a course that focuses on those aforementioned individual arts and their individual problems. So, for example, I used to regularly teach graduate seminars in aesthetics to students enrolled [End Page 51] in a fine arts doctoral program. These students studied music, art education, the visual arts, theater, and dance; the seminars were designed to provide them with a broad foundation in philosophical aesthetics. Since they typically had no background in philosophy, I made the effort to assign readings and topics relevant to their own artistic practices and interests. Providing them with contemporary cutting-edge philosophical material on music and the visual arts was not hard. Kivy’s work, as well as that by Jerrold Levinson, Arthur Danto, Richard Wollheim, and others, makes that fairly easy. And intriguingly—since philosophers are commonly said to have ignored the art of dance—there’s even a decent amount of recent philosophical work on that art form by such authors as Graham McFee, Frances Sparshott, and Noël Carroll and Sally Banes.5 But where to turn to for the theater students? I would often read some of Aristotle’s Poetics with them, but I have to admit that the serious students of the theater that I encountered in those seminars typically knew that text much better than I did. (Still, I hope I challenged their breezy assumptions about catharsis!) We would read Hume on tragedy together—fun, but not really so much about the theater—and sometimes a bit of Nietzsche. But there was never much to give them from contemporary philosophers on the subject—a few articles here and there, of course, but nothing that clearly laid out the big and distinctive issues that the art form of theater raises. Nothing, to put the point a bit differently, that would provide any evidence that there really was a lively and extant philosophy of theater out there, as there are lively and extant philosophies of film, music, literature, and photography. In short, for those attracted to the prospect of teaching aesthetics as the philosophies of arts, the dearth of good work on theater by contemporary philosophers has been a significant source of frustration and even a bit of an embarrassment.The book in question is not the only recent philosophical work on theater. There are fine articles on the topic by David Osipovich, David Saltz, and Paul Woodruff, among others. Hamilton himself has a string of... (shrink)

An introduction to the philosophical study of theatrical magic.

In this essay it is shown that the imaginative art of scientific theorizing – at its technical best – animates Quine's philosophy as importantly as the more Spartan norms honored in his present pantheon of virtues. By drawing a contrast between the standing of theories in philosophy and theories in science, it will be shown that the speculative reaches of philosophy, along with developments in semantic theory, now oblige an internal revision of Quine's stance against meaning as it was announced (...) in “Two Dogmas of Empiricism.” So, corollary to this proposed revision, I argue that in natural philosophy, the muse of the “art of science” deserves an address along with the more Spartan norms in Quine's present philosophical pantheon. As semantic theory and analyticity thus gain a measure of philosophical tenability, Quine's holism emerges as the more central doctrine of his mature vision. (shrink)

I wholeheartedly sympathize conceptually with Coeckelbergh’s paper. The dialectical relationship between vulnerability and technology constitutes the core of Hegel’s Master and Slave. Yet, the empirical dimension is underdeveloped and Coeckelbergh’s ideas could profit from exposure to case studies. Building on a movie/novel devoted to vulnerability coping and living with ICT, I challenge the claim that modern heroism entails overcoming vulnerability with the help of enhancement and computers.

The philosophy of the art of living asks the age-old question of orienting one’s own life: ‘How can I live well?’ An art of living is always called for when people do not know what to do and how to go on, when the ways of life are no longer self-evident, when traditions, conventions, rules, and norms lose their plausibility and individuals begin to worry about themselves. The art of living and of its philosophy has a practical aim: It is (...) not concerned with ethical principles, but with the concrete practice of people’s everyday life, with their individual and successful lives. Friedrich Nietzsche, as he often did, pushed the problem of the art of living to the extreme, making it palpable both in its dignity and in its force. For him, the modern uncertainty of human orientation caused by nihilism pointed to art and aesthetics, which, he supposed, makes life if not justifiable, at least bearable. The arts open up a multi-perspectival seeing and hearing, they experiment with alternative forms and techniques, and create the finest sensibilities for both – Nietzsche himself, with his rich forms of philosophical writing, is an outstanding example of this. -/- The volume we present here, entails contributions of German-speaking scholars on Nietzsche and the ways of living he proposes, especially, but not alone in Dawn. The papers are selected from a book series on the common issue “Critical Art of Living,” edited by Günter Gödde, Jörg Zirfas, and others, and translated on behalf of the Foundation for Philosophical Orientation. (shrink)

This article explores the meeting of two approaches towards philosophy and education: the philosophy for children approach advocated by Lipman and others, and Schmid’s philosophical concept of Lebenskunst. Schmid explores the concept of the beautiful or good life by asking what is necessary for each individual to be able to develop their own art of living and which aspects of life are significant when shaping a good and beautiful life. One element of Schmid’s theory is the practical application of philosophy (...) through the notions of Bildung, reflection, prudence and practical wisdom, as well as the requirement for each individual to take responsibility for actively shaping their life as an artwork. In this sense, each person is the artist responsible for living their own beautiful life. We argue that there are useful parallels between Schmid’s concept of the art of living and P4C, such as the ideal of a holistic philosophy that is “lived.” The pragmatic approach of P4C focuses on the embodied learner who practices critical, caring and creative thinking. Both P4C and Schmid’s theory are reminiscent of the Aristotelian notion of practical wisdom, which allows for an approach to an education for life that prepares students to develop their own art of living. (shrink)

Here I review Richard Kearney and Matthew Clemente's edited volume "The Art of Anatheism.".

Much has been written about Schopenhauer’s use of Kant’s aesthetics as well as Schopenhauer’s adherence to and departures from Kant’s theoretical philosophy, not least by Schopenhauer himself. The hypothesis I propose in this paper combines these two research trajectories in a novel way: I wish to argue that Schopenhauer’s main theoretical innovation, the doctrine of the will, can be regarded as the development of an aspect of Kant’s aesthetic theory, specifically that the intransitive, goalless striving of the will in Schopenhauer (...) is the intellectual air to Kant's understanding of the mental processes required for the appreciation of beauty as 'conforming to law without a law'. (shrink)

Movie is considered to be an important art form; films entertain, educate, enlighten and inspire audiences. -/- Film is a term that encompasses motion pictures as individual projects, as well as — in metonymy — the field in general. The origin of the name comes from the fact that photographic film (also called filmstock) has historically been the primary medium for recording and displaying motion pictures. Many other terms exist — motion pictures (or just pictures or “picture”), the silver screen, (...) photoplays, the cinema, picture shows, flicks — and commonly movies. (shrink)

This paper aims to reevaluate Aristotelian political theory from an egalitarian perspective and to pinpoint its legacy and relevance to contemporary political theory, demonstrating its importance for contemporary liberal democracies in a changing world, suggesting a new critique of liberal and neoliberal political theory and practice, and especially the improvement of our notion of the modern liberal-democratic state, since most contemporary representative liberal democracies fail to take into account the public interest of the many and do very little in order (...) to advance it. The paper will focus on key aspects of Aristotle’s thought, such as his notions of justice (δικαιοσύνη/dikaiosunē and ἁπλῶς δίκαιον/aplōs dikaion), concord (ὁμόμοια/homonoia), friendship (φιλία/philia) and the art of ruling (τέχνη τοῦ ἄρχειν/technē tou archein), arguing that Aristotle’s theory requires us to have concern for our fellow citizens; ‘concern for others’ as opposed to the mere ‘respect for others’ that contemporary neo-Kantian liberalism advocates . Hence, I will examine these aspects of Aristotle’s philosophy that have not so far been adequately discussed, in relation to his conception of the ‘common or public interest’ (τὸ κοινῇ συμφέρον/to koinē sympheron) which is essential in order to understand the Aristotelian vision for ‘the art of politics’ (τέχνη τοῦ ἄρχειν) which should always aim towards the interest of the many, i.e., the people (πλῆθος/plēthos). (shrink)

This essay presents an account of what it takes to live a philosophical way of life: practitioners must be committed to a worldview, structure their lives around it, and engage in truth‐directed practices. Contra John Cooper, it does not require that one’s life be solely guided by reason. Religious or tradition‐based ways of life count as truth directed as long as their practices are reasons responsive and would be truth directed if the claims made by their way of life are (...) correct. The essay argues that these three conditions can be met by progressors as well as sages. Making progress in how one acts in the world, and improving one’s understanding and direction through being part of a community is living a philosophical way of life. The offered view acknowledges more ways to develop the art of living and enables a broader range of people to count as living philosophically. (shrink)

In the Critique of Pure Reason, Kant describes schematism as a (A141/B180–1). While most commentators treat this as Kant's metaphorical way of saying schematism is something too obscure to explain, I argue that we should follow up Kant's clue and treat schematism literally as Kunst. By letting our interpretation of schematism be guided by Kant's theoretically exact ways of using the term Kunst in the Critique of Judgment we gain valuable insight into the nature of schematism, as well as its (...) connection to Kant's concerns in the third Critique. (shrink)

Peirce’s pragmatic maxim is closely related to his conception of abduction. The acquisition of the actual effect required by the method of scientific reasoning expressed by Peirce’s maxim must be accomplished by resorting to abductive logic. Abductive logic starts from a surprising fact, derives a hypothetical explanation about that fact, and finally arrives at the possibility that the hypothesis is true. This is the process of abductive reasoning, as provided by Peirce, which is distinct from induction and deduction and (...) generates explanatory views. Peirce opposed a unified and unchangeable concept of causality. He used different interpretations of causality to illustrate the considerable differences in people’s understanding of cause and effect in different periods. The concept of pragmatism, as developed from the pragmatic maxim to abduction and then to scientific inference to the best explanation, is precisely what Peirce initially proposed, and inference to the best explanation is the starting point and the final result of the pragmatic maxim. (shrink)

The relationship between Peircean abduction and the modern notion of Inference to the Best Explanation is a matter of dispute. Some philosophers, such as Harman :88–95, 1965) and Lipton, claim that abduction and IBE are virtually the same. Others, however, hold that they are quite different :503, 1998; Minnameier in Erkenntnis 60:75–105, 2004) and there is no link between them :419–442, 2009). In this paper, I argue that neither of these views is correct. I show that abduction (...) and IBE have important similarities as well as differences. Moreover, by bringing a historical perspective to the study of the relationship between abduction and IBE—a perspective that is lacking in the literature—I show that their differences can be well understood in terms of two historic developments in the history of philosophy of science: first, Reichenbach’s distinction between the context of discovery and the context of justification—and the consequent jettisoning of the context of discovery from philosophy of science—and second, underdetermination of theory by data. (shrink)

The central idea upon which plays of Micheal Frayn are established is that a text or event is reborn and reconstructed every time it is recited or recalled. He sublimated history, physics, and various dramatic techniques into splendid drama to reflect upon the dilemmas thrown to the human in today’s world of indeterminacy. It will be explored how Frayn has plied the ‘uncertainty principle’ to drama with a distance from Becket and Brecht by analyzing three plays. Furthermore, his expressed perspective (...) on the Brechtian notion of the ‘alienation effect’ is discussed. The plays chosen for this article are Noises Off (1982), Audience (1991), and Copenhagen (1998). (shrink)

It is a matter of fact that Europe is facing more and more crucial challenges regarding health and social care due to the demographic change and the current economic context. The recent COVID-19 pandemic has stressed this situation even further, thus highlighting the need for taking action. Active and Assisted Living technologies come as a viable approach to help facing these challenges, thanks to the high potential they have in enabling remote care and support. Broadly speaking, AAL can be referred (...) to as the use of innovative and advanced Information and Communication Technologies to create supportive, inclusive and empowering applications and environments that enable older, impaired or frail people to live independently and stay active longer in society. AAL capitalizes on the growing pervasiveness and effectiveness of sensing and computing facilities to supply the persons in need with smart assistance, by responding to their necessities of autonomy, independence, comfort, security and safety. The application scenarios addressed by AAL are complex, due to the inherent heterogeneity of the end-user population, their living arrangements, and their physical conditions or impairment. Despite aiming at diverse goals, AAL systems should share some common characteristics. They are designed to provide support in daily life in an invisible, unobtrusive and user-friendly manner. Moreover, they are conceived to be intelligent, to be able to learn and adapt to the requirements and requests of the assisted people, and to synchronise with their specific needs. Nevertheless, to ensure the uptake of AAL in society, potential users must be willing to use AAL applications and to integrate them in their daily environments and lives. In this respect, video- and audio-based AAL applications have several advantages, in terms of unobtrusiveness and information richness. Indeed, cameras and microphones are far less obtrusive with respect to the hindrance other wearable sensors may cause to one’s activities. In addition, a single camera placed in a room can record most of the activities performed in the room, thus replacing many other non-visual sensors. Currently, video-based applications are effective in recognising and monitoring the activities, the movements, and the overall conditions of the assisted individuals as well as to assess their vital parameters. Similarly, audio sensors have the potential to become one of the most important modalities for interaction with AAL systems, as they can have a large range of sensing, do not require physical presence at a particular location and are physically intangible. Moreover, relevant information about individuals’ activities and health status can derive from processing audio signals. Nevertheless, as the other side of the coin, cameras and microphones are often perceived as the most intrusive technologies from the viewpoint of the privacy of the monitored individuals. This is due to the richness of the information these technologies convey and the intimate setting where they may be deployed. Solutions able to ensure privacy preservation by context and by design, as well as to ensure high legal and ethical standards are in high demand. After the review of the current state of play and the discussion in GoodBrother, we may claim that the first solutions in this direction are starting to appear in the literature. A multidisciplinary debate among experts and stakeholders is paving the way towards AAL ensuring ergonomics, usability, acceptance and privacy preservation. The DIANA, PAAL, and VisuAAL projects are examples of this fresh approach. This report provides the reader with a review of the most recent advances in audio- and video-based monitoring technologies for AAL. It has been drafted as a collective effort of WG3 to supply an introduction to AAL, its evolution over time and its main functional and technological underpinnings. In this respect, the report contributes to the field with the outline of a new generation of ethical-aware AAL technologies and a proposal for a novel comprehensive taxonomy of AAL systems and applications. Moreover, the report allows non-technical readers to gather an overview of the main components of an AAL system and how these function and interact with the end-users. The report illustrates the state of the art of the most successful AAL applications and functions based on audio and video data, namely lifelogging and self-monitoring, remote monitoring of vital signs, emotional state recognition, food intake monitoring, activity and behaviour recognition, activity and personal assistance, gesture recognition, fall detection and prevention, mobility assessment and frailty recognition, and cognitive and motor rehabilitation. For these application scenarios, the report illustrates the state of play in terms of scientific advances, available products and research project. The open challenges are also highlighted. The report ends with an overview of the challenges, the hindrances and the opportunities posed by the uptake in real world settings of AAL technologies. In this respect, the report illustrates the current procedural and technological approaches to cope with acceptability, usability and trust in the AAL technology, by surveying strategies and approaches to co-design, to privacy preservation in video and audio data, to transparency and explainability in data processing, and to data transmission and communication. User acceptance and ethical considerations are also debated. Finally, the potentials coming from the silver economy are overviewed. (shrink)

In Foucault, thought is spatial, and unfolds within the density of becoming, in the void that separates the subject and the object. It is ontologically independent from the authority of the contemplating self, the ‘I’. Thought is a being of its own, and comes from the outside – the world of relationships. The present study poses to itself the following question: if thinking indeed comes from the outside, then under what condition thinking can encounter itself – its colour, texture and (...) topography? That is, under what condition can man encounter himself and the world? Since this problem does not have its origin in Foucault’s work, this work does not arrive at any conclusion merely by analysing and evaluating his work alone. Rather, it aims to explore how Foucault has incorporated Kant and Nietzsche into his thinking, on the one hand, and contextualises him within the Western tradition in general and his responses to contemporaries Deleuze and Derrida, in particular, on the other. Consequently, this study is limited by the sheer weight of its own problematisation. However, the problem of ‘under what condition thought encounters itself?’ is here posed not for the sake of constituting a form of knowledge on it, but rather, it is asked from the point of view of ethics. This, in fact, demands a reordering of the forms of ontology that Foucault has developed at different stages of his career. There are three forms of ontology in Foucault’s work: the first analyses man as the subject of truth; the second takes up man as the subject of power; and the third analyses man as an ethical being. The present study reverses the order and examines his work in its totality from the standpoint of his later writings that deal with the problem of truth and ethics. It tries to connect two problems that pop up at different stages of Foucault’s career. The Order of Things asks the question, “what is man?” and in his later writings Foucault labours on the question, “how should I live my life?” This study tries to relate these two questions, as it unfolds itself. (shrink)

Philosophers of science discuss whether theory selection depends on aesthetic judgments or criteria, and whether these putatively aesthetic features are genuinely extra-epistemic. As examples, judgments involving criteria such as simplicity and symmetry are often cited. However, other theory selection criteria, such as fecundity, coherence, internal consistency, and fertility, more closely match those criteria used in art contexts and by scholars working in aesthetics. Paying closer attention to the way these criteria are used in art contexts allows us to understand some (...) evaluative and developmental practices in scientific theory selection as genuinely aesthetic, enlarging the scope of the goals of science. (shrink)

In this paper Peirce's notion of sign is studied to try to characterize the artistic sign as representation. Then, some considerations about the work of art as a sign are developed involving three elements: experience, expression and interpretation. Finally it is concluded that beauty requires for Peirce a peculiar balance, the imaginative conjunction of the sensible and the reasonable in an artistic sign; it requires moreover the expression of something that transcends the sensible; it requires, as a sign, an interpretation (...) which is not exact and which implies growth. It requires, finally, love, because an artist will only reach beauty guided by agape updating and harmonizing possibilities through abduction, that is, creating new signs that give form to what does not have it; the artist only reaches beauty when he loves what he does and when he can express himself freely. -/- En este artículo se estudia, en primer lugar, la noción de signo de Peirce para tratar de caracterizar después el signo artístico como representación. Se desarrollan enseguida algunas consideraciones sobre la obra de arte como signo que como tal conlleva tres elementos: experiencia, expresión e interpretación. Finalmente se concluye que la belleza requiere para Peirce un peculiar equilibrio, la conjunción imaginativa de lo sensible y lo razonable en un signo artístico; requiere además la expresión de algo que trasciende lo sensible; requiere, en tanto signo, de una interpretación que no es exacta y que implica crecimiento. Requiere, por último, amor, pues el artista solo alcanzará lo bello cuando sea guiado por el ágape y a través de la abducción vaya actualizando y armonizando posibilidades, creando nuevos signos que den forma a lo que no la tiene, cuando ame lo que hace y se exprese libremente. (shrink)

In ‘The End of Art: A Real Problem or Not Really a Problem?’ I raised some questions about Arthur Danto’s famous ‘end of art’ thesis. A largely polemical paper, it was intended as an invitation to further discussion, and Kalle Puolakka has now taken up this invitation in ‘Playing The Game After The End of Art’. I thank him for his many insightful remarks. Critical comments are typically more interesting and helpful than simple praise, and Puolakka’s comments are no exception. (...) I would therefore like to return the favour. I will place Puolakka’s remarks under critical examination and in the process hope to rephrase, refine, and defend some of my original claims. First, however, I will briefly restate my reading of Danto’s ideas on the end of art. (shrink)

Charles S. Peirce (1839-1914) made relevant contributions to deductive logic, but he was primarily interested in the logic of science, and more especially in what he called 'abduction' (as opposed to deduction and induction), which is the process whereby hypotheses are generated in order to explain the surprising facts. Indeed, Peirce considered abduction to be at the heart not only of scientific research, but of all ordinary human activities. Nevertheless, in spite of Peirce's work and writings in the (...) field of methodology of research, scarce attention has been paid to the logic of discovery over the last hundred years, despite an impressive development not only of scientific research but also of logic. -/- Having this in mind, the exposition is divided into five parts: 1) a brief presentation of Peirce, focusing on his work as a professional scientist; 2) an exposition of the classification of inferences by the young Peirce: deduction, induction and hypothesis; 3) a sketch of the notion of abduction in the mature Peirce; 4) an exposition of the logic of surprise; and finally, by way of conclusion, 5) a discussion of this peculiar ability of guessing understood as a rational instinct. -/- . (shrink)

The striking title The End of Art managed to draw attention to the philosophical work of Arthur Danto. However, the lack of a systematic development which could support this thesis made him face harsh criticism. However, strong foundations for his statements can be deduced from his writings. In this paper, I analyse how to understand the thesis of the ‘end of art’. It should be approached not as a monolitical notion but as a complex concept that combines three different senses: (...) 1) the ‘end of art’ in the Hegelian sense: the conversion of art into philosophy, 2) the ‘end of art’ in the historiographical sense: as the end to the narratives of the history of art, and 3) the ‘end of art’ as the beginning of a new period in history, where Danto’s philosophy of art would be fully valid. (shrink)

This paper presents a new account of aesthetic pleasure, according to which it is a distinct psychological structure marked by a characteristic self-reinforcing motivation. Pleasure figures in the appreciation of an object in two ways: In the short run, when we are in contact with particular artefacts on particular occasions, aesthetic pleasure motivates engagement and keeps it running smoothly—it may do this despite the fact that the object we engagement is aversive in some ways. Over longer periods, it plays a (...) critical role in shaping how we engage with objects to get this kind of pleasure from them. This account is yoked to a broadly functional understanding of art: it is not the nature of the object that makes it art, but the nature of the response that it is designed to elicit. The view does not, however, rest on individual psychology alone, as some other functional accounts do. Crucially, it is argued that shared cultural context is a key determinant of the pleasure we derive from aesthetic artefacts. The pleasure of art is always communal and communicative. (shrink)

This study resumes the discussion undertaken by Ulpiano Bezerra de Menezes, historian, archaeologist and museologist at the University of São Paulo, the first to “decolonize the history of Art in the Americas”. At the same time, this resumption is in charge of paying homage to this researcher who found the mistakes and gaps left by European scholars who were at the service of Eurocentric colonialism and its Eurocentric culture. However, the central objective of this text is to contribute to this (...) process of decolonization, expanding the discussion that began in the 1980s. To this end, here, the chapter that opens the work História geral da arte no Brasil, edited by Walter Zanini, whose title is Art in the pre-colonial period, and which completes decades. (shrink)