This paper proposes a transversal lecture of the Phenomenology of Mind from Hegel by following in the text the idea of death. To show the different figures of the death in the book, the author uses three lecture`s key: a) the death as natural end of the life, b) the fear of the death as regulative idea by the constitution the society, c) overcoming death through one kind of rational way of survival.

From the perspective of Cartesian doubt, this article explores the concept of the limitations of reasoning through the use of the Kantian words 'boundary' and 'barrier' in his Critique of Pure Reason. Hegel's critical dialogue with Kant is presented focusing on the limitation that the latter imposed on reason for the acquisition of the true knowledge of philosophical/metaphysical objects. For this purpose, the Hegelian position is presented from its discussion on the second chapter of the first section of the The (...) Doctrine of Being and references are made to conceptual elements of the Phenomenology of Spirit. (shrink)

Social robotics attempts to build robots able to interact with humans and other robots. Philosophical and scientific research in social cognition can provide social robotics research with models of social cognition to implement those models in mechanic agents. The aim of this paper is twofold: firstly, I present and defend a framework in social cognition known as mindshaping. According to it, human beings are biologically predisposed to learn and teach cultural and rational norms and complex cultural patterns of behavior that (...) enhance social cognition. Secondly, I will highlight how this framework can open new research perspectives in the area of social robotics. (shrink)

Aristotle not only formulates the problem of intentionality explicitly, he makes a solution to it a requirement for any adequate theory of mind. His own solution, however, is not to be found in his theory of sensation, as Brentano and others have thought. In fact, it is precisely because Aristotle regards this theory as inadequate that he goes on to argue for a distinct new ability he calls "phantasia." The theory of content he develops on this basis (unlike Brentano's) is (...) profoundly naturalistic: it is a representational theory, formulated in terms of the causal powers and physical magnitudes of the body. (shrink)

In this paper, I argue that unification is neither necessary nor sufficient for explanation. Focusing on the versions of the unificationist theory of explanation of Kitcher and of Schurz and Lambert, I establish three theses. First, Kitcher’s criterion of unification is vitiated by the fact that it entails that every proposition can be explained by itself, a flaw that it is unable to overcome. Second, because neither Kitcher’s theory nor that of Schurz and Lambert can solve the problems of asymmetry (...) and accidental generalizations, it follows that unification is not sufficient to ground explanation. Third, some good explanations are disunifying, which entails that unification is not necessary for explanation either. (shrink)

My purpose in this article is to provide a reconstruction of the mechanics of philosophical analysis that Wittgenstein carried out in “On Certainty”. I will show that this analysis is based, specifically, on an appeal to a wide propositional typology that serves to evaluate and diagnose Moore’s propositions. To this end, I shall first explain how common readings of the methodological issues in “On Certainty” fail. Secondly, I focus on the mechanics of analysis found in paragraphs 1-65, specifically the analysis (...) of three sentences: “There are physical objects”, “I know that there is a hand here” and “here the mistake is impossible”. Thirdly, I proceed to identify different stages of the method and justify in what sense the strategic core of such research is the table of propositional typologies. (shrink)

Muscle synergy analysis via surface electromyography is useful to study muscle coordination in motor learning, clinical diagnosis, and neurorehabilitation. However, current methods to extract muscle synergies in the upper limb suffer from two major issues. First, the necessary normalization of EMG signals is performed via maximum voluntary contraction, which requires maximal isometric force production in each muscle. However, some individuals with motor impairments have difficulties producing maximal effort in the MVC task. In addition, the MVC is known to be highly (...) unreliable, with widely different forces produced in repeated measures. Second, synergy extraction in the upper limb is typically performed with a multidirection reaching task. However, some participants with motor impairments cannot perform this task because it requires precise motor control. In this study, we proposed a new isometric rotating task that does not require precise motor control or large forces. In this task, participants maintain a cursor controlled by the arm end-point force on a target that rotates at a constant angular velocity at a designated force level. To relax constraints on motor control precision, the target is widened and blurred. To obtain a reference EMG value for normalization without requiring maximal effort, we estimated a linear relationship between joint torques and muscle activations. We assessed the reliability of joint torque normalization and synergy extraction in the rotating task in young neurotypical individuals. Compared with normalization with MVC, joint torque normalization allowed reliable EMG normalization at low force levels. In addition, the extraction of synergies was as reliable and more stable than with the multidirection reaching task. The proposed rotating task can, therefore, be used in future motor learning, clinical diagnosis, and neurorehabilitation studies. (shrink)

In the paper below the authors describe three super-tasks. They show that although the abstract notion of a super-task may be, as Benacerraf suggested, a conceptual mismatch, the completion of the three super-tasks involved can be defined rather naturally, without leading to inconsistency, by means of a particular kinematical interpretation combined with a principle of continuity.

Husserl's two notions of "definiteness" enabled him to clarify the problem of imaginary numbers. The exact meaning of these notions is a topic of much controversy. A "definite" axiom system has been interpreted as a syntactically complete theory, and also as a categorical one. I discuss whether and how far these readings manage to capture Husserl's goal of elucidating the problem of imaginary numbers, raising objections to both positions. Then, I suggest an interpretation of "absolute definiteness" as semantic completeness and (...) argue that this notion does not suffice to explain Husserl's solution to the problem of imaginary numbers. (shrink)

Many theists regard the claim that certain fundamental constants of nature are fine-tuned for life as the best scientific argument for the existence of God since Paley’s watch. Even atheist physicists find these so-called “anthropic coincidences” difficult to explain naturally and many think they need to invoke multiple universes and the so-called “anthropic principle” to do so. Certainly if there are many universes, fine-tuning is simple. Our universe is not fine-tuned for life. Life is fine-tuned to our universe. While multiple (...) universes are expected from modern cosmological theories, theists and some scientists object that invoking the unobservable is not science. Of course, God is unobservable too, so the best theists can claim is a standoff. (shrink)

This paper attempts three things. It invites you to engage critically with me in the adjudication of a particular controversy. It attempts to argue for and exemplify important procedures which distinguish good and bad thinking in a critical mode. And it argues the case for the separate teaching of critical thinking (henceforth CT).

In an earlier paper the authors discussed some super-tasks by means of a kinematical interpretation. In the present paper we show a semi-formal way that a more abstract treatment is possible. The core idea of our approach is simple: if a super-task can be considered as a union of (finite) tasks, it is natural to define the effect of the super-task as the union of the effects of the finite tasks it consists of. We show that this approach enables us (...) to handle two of the three super-tasks that we discussed earlier. We also argue that recent objections against our original kinematical interpretation do not hold water. One of our arguments is based on the construction of an elegant correspondence between the first of those three super-tasks and Zeno's Achilles and the Tortois. (shrink)

We provide a quantifier-free axiom system for plane hyperbolic geometry in a language containing only absolute geometrically meaningful ternary operations (in the sense that they have the same interpretation in Euclidean geometry as well). Each axiom contains at most 4 variables. It is known that there is no axiom system for plane hyperbolic consisting of only prenex 3-variable axioms. Changing one of the axioms, one obtains an axiom system for plane Euclidean geometry, expressed in the same language, all of whose (...) axioms are also at most 4-variable universal sentences. We also provide an axiom system for plane hyperbolic geometry in Tarski's language L B which might be the simplest possible one in that language. (shrink)

What are the laws of physics? -- The stuff that kicks back -- Point-of-view invariance -- Gauging the laws of physics -- Forces and broken symmetries -- Playing dice -- After the bang -- Out of the void -- The comprehensible cosmos -- Models of reality.

The essay is devoted to the reconstruction of the philosophy of art of Novalis, one of the prominent German Romantics, who presents it in his writings in a fragmentary way. Research of this type appears in scholarly literature for the first time; it utilizes a complex philosophical-aesthetic method of analysis of texts of the German thinker. Novalis appreciates art as one of the highest achievements of humanity, which elevates the human being from ordinary life to spiritual heights. Art is a (...) free expression of the artists' Ego. Art is simultaneously a “self-contemplating and a self-creating nature.” The creative principles of nature are transformed within the spiritual world of the artist and express themselves in art. The secrets of nature are revealed to the artist. The artists sees something great in the least significant things. The beautiful is the object of art and this creates kinship between all types of art. Artists (including painters) do not imitate the external world but they create by means of their internal world. All types of art gravitate towards mutual harmony and foreshadow a synthesis of the arts of sorts. Novalis positions poetry above all other arts. This is because according to him poetry establishes heavenly wisdom on earth, elevates the human being over everyday life, and serves as the foundation for all other arts. Philosophy is internally linked to poetry and serves as its theory. The philosopher must be a poet. The poet lives a special, contemplative life and is a wise and prophetic person. Novalis imagines the future Romantic age as fabulous, magical, poetic, ironic, alogical. “Intelligent chaos” will play a specific role in it. All earthly will be elevated to the heavenly. Novalis considers the novel as one of the principal forms of Romatic poetry and presents its chief characteristics. (shrink)

Resumen: La presente contribución gira en torno al significado del atentado terrorista del 11 de septiembre de 2001 para la hermenéutica filosófica, en particular la de Gianni Vattimo. El turinés gestó en sus textos de entre 2006 y 2014 una versión nueva de la hermenéutica que se basa en la experiencia de este acontecimiento. Esta nueva hermenéutica estaría atenta al conflicto y a las transformaciones sociales y tendría por núcleo la noción de “evento”, Sin embargo, Vattimo mismo no ofrece una (...) definición operativa adecuada del término. Ante esto, propongo incorporar a la tradición hermenéutica conceptos como “evento” y “milagro”, acuñados por Joseph de Maistre. Se trata de una propuesta de “maistrianización” de la hermenéutica para hacer de ella un discurso viable y fructífero en un mundo violento e inestable. (shrink)

In this lucid and insightful study, Stephen Makin investigates a form of argument widespread in ancient Greek philosophy, where the absence of a reason for one alternative to be the case rather than another is used to establish substantive conclusions—where the alternatives are “indifferent”. Examples abound: Anaximander engages in such reasoning to show that the Earth does not move; Zeno of Elea to show that what is cannot be divided; Democritus to argue for finite divisibility, on the one hand, and (...) the infinite variety of atoms and worlds, on the other; not to mention the extensive use of such arguments in ancient skepticism. (shrink)

The article discusses the aesthetic aspects of the symbolology introduced by the Byzantine author of the Corpus Areopagiticum that was signed in the name of the pupil of the Apostle Paul, Dionysius the Areopagite. The symbolology is understood to mean knowledge of both symbols and symbolic type of consciousness and worldview, which is implicitly present in Dionysius's works. Based on the analysis of the Corpus texts, it is shown that all levels of symbol theory developed by Dionysius—like likenesses, unlike likenesses, (...) apophatic naming, and sacral-liturgical symbolism—have an aesthetic coloration. The symbolology of the Areopagitica gave a powerful impetus to the development of European theological aesthetics and the artistic practice of the Christian culture for many centuries, in Western Europe as well as in the Byzantine Empire and medieval Russia. (shrink)

Some Cities is unlike anything Burgin has ever done before, although it explores characteristic themes of his earlier theoretical and visual works, such as the dimensions of politics and sexuality in everyday life.

In his opening address at a discussion of the book: V. V. Bychkov, N. B. Mankovskaya, and V. V. Ivanov, Trialogue: Living Aesthetics and the Contemporary Philosophy of Art , held on 27 February 2012 at the S. Gerasimov All-Russia State University of Cinematography , the author shows that Trialogue came into existence as a result of interpretation, polemical debate, and further development of ideas formulated in his early fundamental work. The Artistic Apocalypse of Culture . The key idea of (...) both books is V. Bychkov's hypothesis of Culture -post- culture drawn from radical processes that take place in art, aesthetics, and the culture of the last century. (shrink)

The author analyzes artistic symbolization as the process by which the artist creatively embodies metaphysical reality in the work of art and evokes a spiritual and emotional response in the recipient.

This essay provides a conceptual account of contemporary aesthetics defining it as post-nonclassical. The author shows that this aesthetics, which is the direct consequence of the current state of a technogenic, globalizing civilization and is its self-consciousness, is composed of three parts: classic aesthetic metaphysics; opposed to it nonclassical aesthetics, which emerged on the base of a verbal fixation on twentieth-century art practice ; and aesthetic virtualistics, which generalizes the experience of emerging digital and network art experiments. The author introduces (...) the basic aesthetic vocabulary specific to each of the constituent parts of contemporary post-nonclassical aesthetics. (shrink)

The subject of the study is the aesthetics of early Friedrich Schlegel. In his aesthetics, Schlegel continues the traditions of German classical philosophy, focusing special attention on the principles of the beautiful and sublime in art. Schlegel considers beauty, like morality, to be inherently inherent in a person who, along with the moral, has an "aesthetic imperative". As a "transcendental factor", beauty is based on disinterested pleasure and represents an ideal that ancient Greek art approached at one time, and the (...) aspiration for which modern art lacks so much. The highest beauty is organic like nature; two main "elements" make up the essence of beauty: "phenomenon" and "good". The beautiful in its broad sense also encompasses the sublime. Schlegel pays special attention to the ugly as an aesthetic category opposed to the beautiful and sublime, and gives an outline of the future theory of the ugly. He connects the ugly with the animal nature of man and shows that it is based on the disgusting, painful, monstrous, "beggarly chaos" of being, manifesting an absolute denial.  The central aesthetic principles – the beautiful and the sublime – are opposed by two types of the ugly: the own ugly and the "sublimely ugly". Schelling considers art to be one of the main components of culture as a humanitarian factor and sees three types of culture: natural, organically growing on the basis of mythology, artificial, created on the basis of reason according to aesthetic laws and aesthetic, which means a special emphasis in culture on aesthetic essence, on artistry. Schlegel is convinced that further positive development of culture and art is possible only under the guidance of the "correct" aesthetic theory, the beginnings of which he learns from his contemporaries. (shrink)

Wackenroder is a Romantic author of a metaphysical-religious orientation. For him, the creator of art and its most adequate perceiving subject is God. As for art, he sees it as most tightly connected to religion, for both help the human being to rise from the earthly hassle to the heavenly sphere. The art of all times and nations contains a common essence – the beautiful – which is expressed in a variety of ways. Therefore the human being is capable of (...) learning how to see beauty in any art medium. Wackenroder speaks of two symbolic languages that help the human being grasp heavenly matters: the language of nature and the language of art. Creativity is based on inspiration, which is a divine gift. In creating their art artists must begin with nature and present it in a transformed way. The process of creativity begins in the inner world of the artist, when he or she constructs a future painting in its completeness. The contemplation of a work of art is like prayer. Therefore perception of art requires specific training. Before contact with art, the recipient must initiate in him or herself the ability to perceive the beautiful and sublime. The grasping of a true work of art is inexhaustible. Every act of contemplating an artwork reveals to our soul something new. The process of perception of art is enthusiastic in nature; Wackenroder presents it as a confession of our spirit. In his musical aesthetics the place of honor belongs to the spiritual content of music. In painting Wackenroder most highly esteems the pacifying art of Rafael, the allegorical art of Michelangelo, and the cognitive art of Leonardo Da Vinci. (shrink)

The paper is devoted to the study of humor as an important pragmatic phenomenon bearing on cognition, and, more specifically, as a cooperative mode of non-bona-fide communication. Several computational models of humor are presented in increasing order of complexity and shown to reveal important cognitive structures in jokes. On the basis of these limited implementations, the concept of a full-fledged computational model for the understanding and generation of humor is introduced and discussed in various aspects. The model draws upon the (...) authors ' General Theory of Verbal Humor, with its six knowledge resources informing a joke, and on SMEARR, a sophisticated semantic-network-based computational lexical environment. The relevance of the approach to the interpretation, generation, and cognitive structure of humor is discussed in the broader context of the nature of the cooperative non-bona-fide modes of communication. (shrink)

The goal of this paper is to assess biological naturalism in light of the adaptationist debate. Searle is famous for explicity pursuing a biological foundation for his theory of consciousness. However, evolutionary biology receives little attention in his work, which results in crucial theoretical confusions over adaptationism. In this paper, we will propose two theses concerning Searle's approach to consciousness in the context of the adaptationist debate. First, Searle's attack on adaptationism only applies to its naive version, failing to touch (...) any of the more sophisticated versions of adaptationism, especially the empirical one. Second, despite his attack, in the end Searle embraces empirical adaptationism about consciousness. Howsoever, Searle's empirical foundation for his thesis that the evolutionary advantage of consciousness lies in a greater power of discrimination faces a serious problem of generalization regarding non-human animals. (shrink)

Precise measurements of well-being would be of profound societal importance. Yet, the sceptical worry that we cannot use social science instruments and tests to measure well-being is widely discussed by philosophers and scientists. A recent and interesting philosophical argument has pointed to the psychometric procedures of construct validation to address this sceptical worry. The argument has proposed that these procedures could warrant confidence in our ability to measure well-being. The present paper evaluates whether this type of argument succeeds. The answer (...) is that it depends on which methodological background assumptions are motivating the sceptical worry to begin with. We show this by doing two things. First, we clarify (a) the different types of well-being theories involved in the science of well-being, and (b) the general methodological dimensions of well-being theorising. Second, we apply these distinctions and argue that construct validation is an unsuccessful response to measurement scepticism if this scepticism is motivated by a form of methodological non-naturalism. In the light of this, the overall point of the paper is that philosophers and scientists, when discussing measurement of well-being, should explicate their deeper methodological commitments. We further suggest that making such explicit commitments might present philosophers with a dilemma. (shrink)

In his Doppelvortrag, Edmund Husserl introduced two concepts of “definiteness” which have been interpreted as a vindication of his role in the history of completeness. Some commentators defended that the meaning of these notions should be understood as categoricity, while other scholars believed that it is closer to syntactic completeness. A detailed study of the early twentieth-century axiomatics and Husserl’s Doppelvortrag shows, however, that many concepts of completeness were conflated as equivalent. Although “absolute definiteness” was principally an attempt to characterize (...) non-extendible manifolds and axiom systems, an absolutely definite theory has a unique model and, thus, it is non-forkable and semantically complete. Non-forkability and decidability were formally delimited by Fraenkel and Carnap almost three decades later and, in fact, they mentioned Husserl as precursor of the latter. Therefore, this paper contributes to a reassessment of Husserl’s place in the history of logic. (shrink)