We are living in the era of street art. Since Nick Riggle’s pivotal work on the definition of street art, several philosophers have addressed issues in the philosophy of street art. The goal of this paper is to summarize the literature. I consider the following matters, which have been at the core of philosophical discussions on street art: demarcation, value, illegality, and the ethical foundation of intellectual property (IP) protection. In answering the question ‘What is street art?,’ philosophers have generally (...) resisted skeptical approaches by developing a wide range of real and essentialist definitions of street art (Section 2). When considering street art’s value, I distinguish between aesthetic and non-aesthetic centered accounts. If the former focus on the aesthetic side of our experience of street art, the latter generally place emphasis on its activist nature and political significance (Section 3). In discussing the relationship between street art and illegality, I canvas different takes on the issue. If for some scholars illegality is either a necessary or sufficient condition for street art, philosophers tend to agree that it is neither, while not denying its relevance at the level of identity and authenticity (Section 4). Finally, I consider matters of IP protection of street art. On the one hand, copyright optimists defend the view that current IP legislations may very well have a positive impact on the promotion and preservation of street art. Pessimists, on the other hand, argue that an extension of copyright privileges to works of street art is likely to jeopardize the counter-cultural and rebellious nature of this urban art kind (Section 5). (shrink)

What is street art? This paper offers a definition of street art as an art kind or art form based on its essential value: its subversiveness. It argues that street art is essentially subversive in virtue of using public space as a technical resource. By hijacking a portion of the urban landscape with its colourful forms and witty designs, street art challenges familiar ways of practising the city, while creating a ‘temporary autonomous zone’ of free expression. There, corporate control over (...) the city’s visible surfaces is ridiculed and people reclaim their right to use the city. In this sense, street art functions as a carnivalesque tactic of social resistance, favouring the emergence of alternative ways to imagine our urban life and our uses of public space. By considering its subversiveness, one can also explain how street art (i) significantly differs from official public art; (ii) includes graffiti as its original and most radical style. (shrink)

This article is about culinary authenticity as a cultural heritage issue. Our purpose is to establish a distinction between experts and stakeholders that, as we.

Is graffiti writing creative activism? In this paper, I challenge commonly held beliefs that graffiti writing is politically inert. On the contrary, I argue that graffiti writing is an example of creative activism. Rather than being a narcissistic form of vandalism, primarily directed at increasing one’s fame in front of an esoteric group, that is, fellow writers, writing is a form of everyday resistance allowing its practitioners to challenge authoritarian power. In questioning dominant hierarchies, graffiti is a powerful tool to (...) help correct a specific instance of spatial injustice: the unequal distribution of access to urban surfaces for self-expression in the city, where corporations and political elites hold an unjustified monopoly over visual communication. (shrink)

This quote from Silvio Berlusconi is part of the speech he held on April 18, 1994 during the celebrations for AC Milan’s third consecutive scudetto under his management. Suppose we take this claim seriously: what is the logic at play when soccer is linked to other spheres of life? In particular, in what ways is a team a metaphor for its patrons?

What is the relationship between street art and the law? In 'A Philosophy Guide to Street Art and the Law', Andrea Baldini argues that street art has a constitutive relationship with the law. A crucial aspect of the identity of this urban art kind depends on its capacity to turn upside down dominant uses of public spaces. Street artists subvert those laws and social norms that regulate the city. Baldini shows that street art has not only transformed (...) public spaces and their functions into artistic material, but has also turned its rebellious attitude toward the law into a creative resource. He aims at elucidating and arguing for this claim, while drawing important implications at the level of street art's metaphysics, value, and relationship with rights of intellectual property, in particular copyright and moral rights. At the other end of the spectrum of contractual art, street art is outlaw art. (shrink)

Philosophers have recently paid increasing attention to the aesthetic and artistic worth of food (Korsmeyer 2005, 1999; Kuhen 2005; Monroe 2007; Myhrvold 2011.

In recent years, companies receive pressure to release environmental, social, and governance disclosure, since these are perceived as critical issues by society. Despite this pressure, ESG disclosure practices considerably vary by firm. Prior academic literature investigated country- and firm-level factors determining such variation, alternatively adopting the institutional and legitimacy theory. By combining these theories in a unique framework, this study investigates the extent to which social structures and social legitimization influence ESG disclosure practices and each pillar. Results obtained using a (...) cross-country sample of 14,174 firm-year observations during 2005–2012 provide evidence that country-level characteristics such as a political system, labor system, and cultural system significantly affect firms’ ESG disclosure practices. However, their impact is heterogeneous in that they either reduce or enhance disclosure levels and may differ by pillar. Results for firm-level characteristics related to a firm’s visibility demonstrate a positive and homogeneous effect on ESG disclosure and each pillar. These results inform policy makers and regulators aiming to enhance ESG disclosure levels of the risk they incur when managing variables related to social structure and the benefits of exposing firms to higher visibility. (shrink)

Can there be improvised recipes? This paper argues that improvised recipes are possible. I call them instantaneous-recipes. They emerge at the same instant where a dish is also prepared. The improvisational freedom of instantaneous-recipes is displayed in the spontaneity of using what is available in terms of ingredients, tools, utensils, and techniques. Similar to what graffiti writers do while tagging – that is, leaving their signatures on – a wall or the side of a train car, in creating their signature (...) dishes, improvisers of the kitchen are forced to adapt on the spot to changing contextual conditions just like a missing or newly available ingredient, a technical failure, or a mistake. Analogously to tags, improvised recipes are formally imperfect: they do not comply with established ones and are often rough, unpolished, broken, and disordered. But their imperfections are not aesthetic flaws, but merits. Imperfectionism in cooking, as I call the view rejecting the idea that only perfect instantiations of pre-existing recipes afford positive aesthetic experiences, is linked with three values: aesthetic, humanistic, and sustainable. By bringing imperfect features within the domain of gastronomic appreciation, instantaneous-recipes broaden the range of our aesthetic palette, while also reminding us of our finitude as humans. By encouraging creative uses of available ingredients and leftovers, improvisation in the kitchen also embodies a more sustainable approach to food waste. (shrink)

In this paper, we embark on the complicated discussion about the nature of vice in Virtue Ethics through a twofold approach: first, by taking seriously the claim that virtues (and certain flavours of vices) are genuinely dispositional features possessed by agents, and secondly, by employing a pluralistic attitude borrowed from Battaly’s pluralism (2008). Through these lenses, we identify three varieties of viciousness: incontinence, indifference, and malevolence. The upshot is that the notion of vice is not as categorically homogeneous as that (...) of virtue: some states of viciousness consist in interference of present virtuous dispositions, or mimicking of absent vicious ones, whereas others can be considered genuine dispositions themselves. Furthermore, this set-up can provide an interesting, albeit highly idealized story as to how, through the interference in one’s environment, one gets acquainted with vice in various degrees. Finally, this approach can be illuminating vis-à-vis Virtue Ethics in general; e.g. we can employ it to discuss more productively Johnston’s (2003) objection to Hursthouse’s (1999) account of moral conduct. Finally, this approach can be illuminating vis-a-vis Virtue Ethics in general; e.g. we can employ it to discuss more productively Johnston’s (2003) objection to Hursthouse’s (1999) account of moral conduct. (shrink)

In this paper, I critically discuss Riggle’s definition of street art. I argue that his definition has important limitations, and is therefore unsuccessful. I show that his view obscures a defining feature of street art, that is, its subversive power. As a significant consequence of ignoring that essential aspect, Riggle is incapable of fully understanding how street art transforms public space by turning one corner of the city at the time into contested ground. I also suggest that, when appreciating street (...) art's subversiveness, its challenge against the Modern separation of art and life appears more radical than Riggle foresees. (shrink)

This paper develops the idea that valid arguments are equivalent to true conditionals by combining Kripke’s theory of truth with the evidential account of conditionals offered by Crupi and Iacona. As will be shown, in a first-order language that contains a naïve truth predicate and a suitable conditional, one can define a validity predicate in accordance with the thesis that the inference from a conjunction of premises to a conclusion is valid when the corresponding conditional is true. The validity predicate (...) so defined significantly increases our expressive resources and provides a coherent formal treatment of paradoxical arguments. (shrink)

As Price (2009) famously mused, if a philosopher were to be magically transported, perhaps through means of time travel, from the 1950s to the modern day, they would indeed be shocked by the resurgence of metaphysics in the analytic tradition. Most of all, perhaps, they would be shocked by the popularity of power metaphysics. What a strange item to have in a philosopher’s curriculum, they might think: after all, didn’t David Hume claim that “[t]here are no ideas which can occur (...) in metaphysics more obscure and uncertain than those of power, force, energy, or necessary connection”? Indeed, much has changed since then. At the pain of using overly vague terminology, we can call “power metaphysics” the subdiscipline of metaphysics interested in the development and evaluation of a family of positions which we will refer to under the umbrella term of “dispositionalism”. According to dispositionalists, the world we inhabit is also populated by genuine and irreducible powers, dispositions, and capacities of objects. (shrink)

Street art and graffiti are on the rise and their problematic relationship with the law is becoming an increasingly pressing issue. This paper considers a series of high profile street art controversies involving famous street artists Banksy and Alice Pasquini as cases studies for illuminating such a relationship. First, by discussing the “Banksy’s Law” – a “law” protecting street artworks in the style of Banksy while condemning graffiti – and its perceived arbitrariness, I investigate what I call the structural differences (...) between aesthetic and legal judgments. While not denying some continuity in reasoning about the law and the arts, I argue that legal judgments possess a degree of formality that cannot be found in their aesthetic counterpart. Second, in expanding my discussion, I also maintain that aesthetic considerations should not function as overriding reasons in legal determinations. By being illegal, many street artworks and graffiti acquire subversive power. If deprived of the possibility of challenging the law because of their aesthetic value, these art forms would lose much of their political value. And, more generally, a world where artworks cannot challenge the law is a world where the arts are rather superficial forms of entertainment. (shrink)

According to Woodward’s influential account of explanation, explanations have a counterfactual structure, and explanatory counterfactuals are analysed in terms of causal relations and interventions. In this paper, we provide a formal semantics of explanatory counterfactuals based on a Ramsey Test semantics of conditionals. Like Woodward’s account, our account is guided by causal considerations. Unlike Woodward’s account, it makes no reference to causal graphs and it also covers cases of explanation where interventions are impossible.

By discussing a selection of socially engaged street artworks from the Frankfurt-based project ‘Under Art Construction’, this essay sheds light on street art’s possibilities as a form of resistance against the power of globalizing finance. The author argues that through the use of carnivalesque strategies of irony and appropriation, street art can challenge the pretense of rationality of recent policies of austerity in the eurozone. Such a challenge exposes the contingency of spending cut programs. He finally suggests that, in debunking (...) the myth of economic rationality, street art can change people’s experience of finance, while opening up a space for imagining alternative economic scenarios. (shrink)

In this paper I begin to fashion a theory of musical form that I call historical formalism. Historical formalism posits that our perception of the formal properties of a musical work is informed by considerations not only of artistic categories but also of the historical, sociopolitical, and cultural circumstances within which that work was composed.

In this paper, I argue for what I define as the multiplicity thesis. According to MT, there is not a single public of public art, but a multiplicity of them. I defend MT both as a descriptive and a normative claim. I explore different types of publics of public art that can be distinguished from one another in terms of their different sizes. I expand my analysis of the differences among separate publics of public art by considering temporary and enduring (...) ones. (shrink)

The evolution of Interaction Design could be read as a radicalization of the dogma of modern functionalism, Less is More, and a "rediscovery" of certain theories of Minimal Art. This radicalization is reflected in the same evolution that has taken place since the early Nineties within the Human-Computer Interaction, with the gradual replacement of User Experience as a major category of interaction design. Designing the interactive experience becomes more important than Usability. But if the experience becomes the specific object of (...) design, the materiality of the object, its shell, loses its importance. The evolution of design, through the spread of computing, leads to a pervasive dematerialization of everyday objects. (shrink)

Computing has become ubiquitous and organic. The “new” human ecosystem is increasingly composed of "intelligent" objects. Since the Nineties there has been a constant application of the practice of disappearance of everyday objects. The daily experience changes, since the objects we use, in their disappearance and imperceptibility, do not divide us from the Life-World. At the same time, the designer is called to rewrite and amplify human experience, and design reflects a different conception of the aesthetic, which must be intended (...) not only as a theory of the artistic and/or cosmetic beauty, but mainly as a science of the experience as such. The designer is no longer limited to designing objects, but he can also design human beings. (shrink)

Since the late Eighties, technological change and transition from analog to digital, led to a challenging of the classical categories of modernist design. With the development of Human Computer Interaction and its impact on theories of Functionalist Design, it has begun a process of interrogation – initially in a cognitive sense and then in the more properly aesthetic sense – which, through theories and practices increasingly dependent on computerization , brings modernist theories about functionality to shift their interest on Usability (...) and, then, from Usability to User Experience. (shrink)

Tom Finkelpearl is a unique figure in contemporary art. He is the executive director of the Queens Museum of Art. However, for decades, he has been a passionate advocate of unconventional artistic practices that have been flourishing outside the boundaries of the mainstream circuit of museums, biennales, art fairs, galleries, and art schools. In recognition of his involvement in promoting nontraditional forms of art, Public Art Dialogue, one of the most important associations devoted to public art, has recently awarded Finkelpearl (...) their 2015 prize. What We Made follows in the footsteps of Finkelpearl’s previous book, Dialogues in Public Art. With that book, Finkelpearl contributed to.. (shrink)

Name der Zeitschrift: Klio Jahrgang: 97 Heft: 1 Seiten: 295-299.

This collection provides English readers with a critical update on current debates on biopolitics in and around Italian thought. More than a decade after the publication of seminal books such as Agamben’s Homo Sacer and Hardt and Negri’s Empire , the names of, among others, Roberto Esposito, Paolo Virno, Christian Marazzi, and Andrea Fumagalli have recently been brought to the attention of Anglophone scholars and political activists. Several authors have rightly emphasised the evanescent character of biopolitics, and the difficulty (...) in providing a definition of it that could embrace all the conflicting theories of its most celebrated critics and supporters. The present collection is structured around the basic contention that bio-economy, human nature, and Christianity are the three visible contemporary manifestations of the theoretical object/problem of biopolitics in, respectively, Italian post-workerist economics, post-Marxist philosophical anthropology, and post-structuralist ontology. This book was originally published as a special issue of Angelaki. (shrink)

This collection provides English readers with a critical update on current debates on biopolitics in and around Italian thought. More than a decade after the publication of seminal books such as Agamben’s _Homo Sacer_ and Hardt and Negri’s _Empire_, the names of, among others, Roberto Esposito, Paolo Virno, Christian Marazzi, and Andrea Fumagalli have recently been brought to the attention of Anglophone scholars and political activists. Several authors have rightly emphasised the evanescent character of biopolitics, and the difficulty in (...) providing a definition of it that could embrace all the conflicting theories of its most celebrated critics and supporters. The present collection is structured around the basic contention that bio-economy, human nature, and Christianity are the three visible contemporary manifestations of the theoretical object/problem of biopolitics in, respectively, Italian post-workerist economics, post-Marxist philosophical anthropology, and post-structuralist ontology. This book was originally published as a special issue of _Angelaki_. (shrink)

ABSTRACTThe question of how common usage could be constitutive for the meaning of linguistic expressions has been discussed by Renaissance philosophers such as Lorenzo Valla, and it also played an important role in Renaissance theories of juridical interpretation. An aspect of the analysis of common usage in Renaissance theories of juridical interpretation that concerns the role of presumption has not yet found much attention. Renaissance jurists such as Simone de Praetis, Nicolaus Everardus, and Aimone de Cravetta saw that both (...) the usage of Latin by practitioners of law and the vernacular common usage of ordinary people often differed from the technical definition of legal concepts as laid down by ancient jurists or modern legislators. In some cases, they ascribed both to Latin and to vernacular common usage the power of changing the meaning of juridical terms. Still, they were aware of the fact that matters of common usage involve always a degree of uncertainty. The methodological notion of presumption is one of the concepts that figured most prominently in Renaissance approaches to the problem of uncertainty, and, in particular, it was applied in the analysis of meaning-change of legal concepts through common usage. (shrink)

Étienne Souriau was a refined and demanding thinker, with an aristocratic demeanour, far removed from the currents of ideas dominant in his time. A difficult and erudite author, out of tune with the times he lived in, he would seem the least likely candidate to appeal to a hurried and globalised public like that of the twenty-first century. A sophisticated representative of a rationalist positivism, no stranger to the Husserlian canon and not even insensitive to the motivations dear to the (...) gnoseological debate of Cartesian and Kantian matrix (as well as to the major themes of classical metaphysics), Souriau pursues the ideal of a constructive philosophy, capable of understanding – and at the same time favouring – the advancement of the creative process conceived as a set of poetic acts and progressive dynamic operations. In his texts, Souriau is attentive to grasping the correspondences, exchanges and reciprocal transitions between one mode of existence and another, as well as the resonances between the various art forms in the different fields of knowledge, testing an original method that is epistemologically very fruitful. The aim of this monographic issue of Aisthesis dedicated to Étienne Souriau is to explore his thought in its multiple aspects, in order to measure its topicality in relation to the themes and problems that characterise contemporary philosophical debate, with particular reference to aesthetics and ontology as well as to the dense network of connections between the two fields. One of the most interesting characteristics of Souriau’s thought that has stood the test of time would appear to be its multifacetedness: the quality of lending itself to being applied even to spheres that are apparently very distant from reflection on art, such as cultural anthropology, political philosophy or morality. It seemed to us that it largely owes its relevance precisely to the intersections between one field of knowledge and another. The issue contains twelve contributions on Souriau that explore his main aspects in depth. They range from analyses devoted to the architecture of Souriau’s thought (his general philosophy) in the essays by Dominique Chateau and Filippo Domenicali, which can furnish a useful overall picture of the man, to essays that attempt to focus on the more properly ontological core of this thought, such as those devoted to the arabesque motif (Luigi Azzariti-Fumaroli), the theory of the soul (Sjoerd Van Tuinen) or the multiplicity of worlds (Noëlie Plé). Interspersed between these are contributions that focus more on the comparison between Étienne Souriau’s thought and the philosophers of his time, such as Dufrenne (Maryvonne Saison), or with well-known later philosophers who explicitly referred to him, prolonging his creative impetus, such as Gilles Deleuze (Casey Boyle) and Bruno Latour (Aline Wiame), the true architect of the current Souriau “comeback”. Finally, in addition to essays of a more theoretical nature, there are contributions that attempt to re-evaluate certain aspects of Souriau’s aesthetics, such as the fruitfulness of the cues that can come from his thought for the debate on animal aesthetics (Maddalena Mazzocut-Mis and Andrea Scanziani), or the possible topicality of his theory of forms (Isabelle Rieusset-Lemarie). In the “Miscellaneous” section, this issue hosts a number of studies that aim to explore the aesthetic implications of new technologies, the themes of ecological aesthetics, as well as to offer an unusual profile of Baumgarten. (shrink)

I reply to Andrea Baldini's critical discussion of my "Street Art: The Transfiguration of the Commonplaces" (2010) by taking up the question: what is "the street" in street art? I argue that the relevant notion of the street is a space whose function it is to facilitate self-expression. I show how this clarifies and extends the theory developed in Riggle (2010). I then argue, contra Baldini, that street art is not always subversive, and when it is, it (...) is not always in virtue of its challenging the co-opting of public space by commercial art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Guillaume Budé, Andrea Alciato, Pierre de l’Estoile: Renaissance Interpreters of Roman LawMichael L. MonheitIn the Renaissance, jurists and other scholars intensely debated the problem of how to interpret correctly the Corpus iuris civilis (CIC), Justinian’s great sixth-century-ad compilation of Roman law. 1 Yet by the sixteenth century jurists had been closely interpreting its texts for four centuries; indeed Roman law jurists, much more than pre-Reformation theologians, innovated through (...) close commentary on the text (a characteristic sometimes wrongly considered a humanist innovation). Assuming that these texts were fully consistent, largely lacking a sense of historical distance, they “found” the CIC’s dictum on a given question by weaving many passages that seemed to address it partially into a complex logical fabric, and eliminated apparent internal conceptual disparities in the same way. 2But from the fifteenth century such humanists as Lorenzo Valla (1407–57) and Angelo Politiano (1454–94) applied humanist critical methods to the CIC and ridiculed the methods of the civilians. In the early sixteenth century the work of Guillaume Budé (1468–1540), Andrea Alciato (1492–1550), and Ulrich Zasius (1461–1535) intensified the crisis in legal interpretation. Budé, the [End Page 21] period’s leading French humanist, was the first humanist to publish an exhaustive study of Justinian’s Digest, while the Milanese jurist Alciato and the German jurist Zasius were among the first humanist-trained Roman lawyers to tackle the CIC. Across the century’s first three decades these humanists debated each other and other jurists, including the eminent Orléans professor of Roman law, Pierre de l’Estoile (1480–1537), best known to scholars as the teacher of a youthful law student named Jean Calvin. 3 We consider here a debate between Budé, Alciato, and Estoile, which also involved Nicolas Duchemin, Estoile’s student and partisan, and Calvin himself, who made his first appearance in print by contributing a preface to the work of his friend Duchemin. Though often referred to in Calvin scholarship, the debate has never been thoroughly explored. 4 [End Page 22]Unlike some recent studies of interpretation in the Renaissance, this study focuses on each interpreter’s practice, rather than his explicit methodological pronouncements alone, on what Wittgenstein calls a writer’s “language game”—here the meaning of each interpreter’s statements in the context of his interpretive practices. Indeed we shall view this debate as a clash of three “forms of life,” since the three protagonists could not agree as to what rules to follow to determine the meaning of a particular expression. 5In the passage in question, Lex Nec quicquam, §Ubi decretum, from the Digest section On the Duties of the Proconsul and Legate (D.1.16.9.1), the third century Imperial jurist Ulpian, declares:Ubi decretum necessarium est per libellum id expedire proconsul non poterit: Omnia enim quaecunque causae cognitionem desiderant per libellum non possunt expediri. (Where a decretum [decree] is required, the proconsul will not be able to dispose of the matter per libellum. All matters whatsoever requiring causae cognitio [judicial investigation] cannot be disposed of per libellum.)In unravelling the meaning of such key terms as decretum and libellus, the interpreters applied assumptions and practices rooted in both the humanist and [End Page 23] scholastic traditions—sometimes the same individual applied both. The debate presents the issue of interpretation apart from that of textual recovery, for no participant claimed any passage involved had been corrupted or offered a significant variant. Had they possessed the Mommsen edition of the CIC (albeit without necessarily understanding its principles of construction), each would have faced little added difficulty.I. Guillaume Budé on §Ubi decretumGuillaume Budé sparked the debate with his comments on the passage in the first part of his famous study of Justinian’s Digest, the Annotationes in quattuor & viginti Pandectarum libros (1508). He argued that the term libellus as used in the passage meant a supplicatory petition addressed to the Emperor. The matters involved could include both controversial cases, for which the Emperor would rely on the judgment of his council, and uncontested matters in which Emperors acted by their own “liberality or beneficence.” Budé confined himself to the... (shrink)

This paper calls for the development of a method of ectogestation as an emancipatory intervention for women. I argue that ectogestation would have a dual social benefit: first, by providing a gestational alternative to pregnancy, it would create unique conditions to reevaluate one’s reproductive preferences—which, for women, always include gestational considerations—and to satisfy a potential preference not to gestate. Enabling the satisfaction of such a preference is particularly valuable due to the pressures women face to embrace pregnancy as central to (...) their identity, while at the same time being penalised by it. Second, ectogestation would address certain specific negative social implications of gestation and childbirth, which cannot be avoided through social measures as they are caused by the corporeal nature of these phenomena. Finally, I argue that it is unfair to hold ectogestation to a higher standard than other innovations such as modern contraceptives and non-medical egg freezing. (shrink)

Background Gerontechnologies are increasingly used in the care for older people. Many studies on their acceptability and ethical implications are conducted, but mainly from the perspective of principlism. This narrows our ethical gaze on the implications the use of these technologies have. Research question How do participants speak about the impact that gerontechnologies have on the different phases of care, and care as a process? What are the moral implications from an ethic of care perspective? Research design Secondary analysis of (...) semi-structure interviews, whose segments on specific technologies were analysed through reflexive thematic analysis. Participants and research context Sixty-seven Swiss stakeholders involved in the use of gerontechnologies, including professional caregivers, informal caregivers, and older persons themselves. Ethical considerations The research study was evaluated by the Ethics Commission of Northwest and Central Switzerland (EKNZ). All participants received an information document before the interview date detailing the purpose, procedure, and anonymization measures. After explaining the study during the agreed upon interview time and upon receiving their written informed consent, the interview process began. Findings/results Four themes are identified: Identifying care needs, Taking responsibility, Hands-on work, Responding to care. As part of these themes, many codes highlighting the ambivalent impact of gerontechnologies are created, ranging from ‘Expanded capacity for…identifying care needs’ to ‘Create new & (un)necessary…hands-on work’. The moral implications of these results from the care ethics perspective are discussed, through the ethical elements of: attentiveness, responsibility, competence, and responsiveness. Conclusions The moral implications of gerontechnologies on care phases from the care ethics perspective open up several questions on whether they actually help give care a central role in social life and provide more competent care. (shrink)

The paper investigates the distinction between form and matter in Kant’s theoretical philosophy – his adoption of an Aristotelian hylomorphism. This connection to Aristotle is sometimes recognized in Kant scholarship, though most proponents claim that against the backdrop of a structural analogy, Kant and Aristotle also differ in an important respect: according to them, while Aristotle puts forth a hylomorphic conception of being, Kant merely offers a hylomorphic conception of cognition in which sensibility provides the matter and understanding the form. (...) Against this, the paper claims that this “interiorization” of form cannot be squared with Kant’s actual views. Form is not internal for Kant, but neither is it external. Rather, it is “original form”. This interpretation ascribes a “hylomorphism all the way down” to Kant, meaning that the form and the matter of cognition are jointly actualized in virtue of each other. The understanding cannot be understood apart from its part in a hylomorphic unity with sensibility. Therefore, a proper appreciation of this unity enables us to see that it is impossible to distinguish the form that objects have as objects of cognition from the form they have in themselves. (shrink)