A collection of essays dedicated to Pier Luigi Lecis' retirement. Contributors include: Mariano Bianca, Silvana Borutti, Vinicio Busacchi, Massimo Dell'Utri, Rosaria Egidi, Roberta Lanfredini, Giuseppe Lorini, Diego Marconi, Francesco Orilia, Paolo Parrini, Alberto Peruzzi, Simonluca Pinna, Pietro Salis, Paolo Spinicci.

An astonishing thesis in the philosophy of quantum gravity is that spacetime ”disappears” at the fundamental level of reality, and that the geometrical notions of ”length” and ”duration” are derived from the dynamics of the basic non–geometrical building blocks of the theory. Unveiling here the analysis of the concepts of spacetime, measure, and magnitude, given by the philosopher Nicolai Hartmann, I argue that the ”disappearance” thesis is too strong. The fundamental geometrical notions are, on the contrary, primitive and cannot be (...) derived from the fundamental building blocks; they must be presupposed ab initio not only for epistemological, but also for methodological reasons. (shrink)

The first commented edition of K.W.F. Solger's Vorlesungen über Ästhetik (1819), edited by Giovanna Pinna.

O estudo analisa a compatibilidade das relações especiais de sujeição com os direitos fundamentais, examinando, em especial, o alcance da restrição à liberdade de expressão dos agentes públicos militares prevista no artigo 166 do Código Penal Militar. Defender-se-á que tal limitação justifica-se apenas quando efetivamente prevalentes interesses institucionais ou públicos, reforçando, assim, o sistema hierárquico e disciplinar com vistas à salvaguarda da própria sociedade. Para tanto, invoca-se a necessidade de utilização das técnicas da proporcionalidade e ponderação na análise casuística. Utiliza-se, (...) como substrato, o método hipotético-dedutivo e como fontes precípuas a revisão bibliográfica e as normas jurídicas afetas ao tema. (shrink)

Being in a romantic relationship is characterized by a high degree of intimacy and affective involvement. Affective behavior indicates the emotional content in couple interactions and therefore promotes an understanding of the evolution of romantic relationships. When couples are also parents, their affective behavior reflects their romantic and coparental bonds. In this paper, we present an observation of parent couples’ affective behavior during a coparenting conflict discussion task to document whether and how much it improved during couple therapy. Two contrasting (...) cases of affective behavior change are included. Observational coding of affective behavior within pre- and post-intervention coparenting conflict discussion tasks was carried out to compute means and CIs for each partner in both cases. In addition, the partners’ coparental and romantic satisfaction were evaluated through validated self-report questionnaires in pre- and post-intervention assessments; this helped document whether the partners’ coparental and romantic satisfaction were dissimilar between the two cases. Finally, a clinical analysis of both cases was realized with the contribution of the therapists to investigate possible differences within therapy sessions. Statistical analyses revealed negative means of affective behavior for couple A in the pre-intervention assessment and positive means in the post-intervention assessment. Partners from couple B had negative means of affective behavior in the pre- and post-intervention assessments. Results concerning coparental and romantic satisfaction differed: Couple A’s coparental satisfaction slightly increased and the romantic satisfaction somewhat decreased, whereas couple B’s coparental satisfaction remained stable and the romantic satisfaction slightly increased between the pre- and post-intervention assessments. The clinical analysis revealed that the interactional quality of couple A slightly improved within therapy sessions and that both partners succeeded in working together as coparents, notwithstanding their romantic distress. Couple B conveyed coparental distress and exhibited poor interactional quality throughout therapy sessions (e.g., repeated criticism and contempt). This study contributes to enriching the more traditional empirical research methods in the field of couple psychotherapy, as it takes into account microlevel affective changes within parent couples’ interactions in addition to self-reported data. Furthermore, the analysis of therapy sessions supports the importance of working with affective behavior in couple therapy. (shrink)

Summary Prägnanz was suggested by Max Wertheimer in the 1920s as subsuming all “Laws of Gestalt” as they apply to visual awareness. Thus, it assumes a prominent position in any account of Gestalt phenomena. From a phenomenological perspective, some visual stimuli evidently “have more Prägnanz” than others, so Prägnanz seems to be an intensive quality. Here, we investigate the intricacies that need to be faced on the way to a definition of formal scales. Such measures naturally depend both upon the (...) stimulus and upon the observer. Structural complexity bottlenecks of visual systems play a role, as well as the relevance to biological fitness, that is the affinity to the optical user interface. This positions the notion of Prägnanz squarely within the realm of biology. Indeed, the familiar “releasers” of ethology are singular cases of extremely high Prägnanz. (shrink)

We present a complete and cut-free proof-system for a fragment of MTL, where modal operators are only labelled by bounded intervals with rational endpoints.

We investigate axiomatizability of various fragments of first order computational tree logic showing that the fragments with the modal operator F are non axiomatizable. These results shows that the only axiomatizable fragment is the one with the modal operator next only.

Nous abordons ici l’étude de la phénoménologie des objets visuels à partir de comptes rendus verbaux, de réponses à des questions ou de descriptions spontanées, ainsi que d’associations libres. Nous demandons même parfois aux sujets de réaliser de simples croquis. Cet éventail de méthodes permet de sonder la structure profonde de la conscience visuelle. Celle-ci est avant tout révélée par ce qui n’est pas spontanément mentionné par des qualités accidentelles ou encore par des changements induits lors de variations ou ajouts (...) mineurs. Nous avons trouvé une concordance remarquable parmi un grand nombre de participants. Ceci démonte que les comptes-rendus verbaux permettent d’explorer puissamment la structure de la conscience visuelle. Tout comme le langage, les « objets visuels simples » ont des racines profondes dans la conscience. Ces fondations « invisibles » servent à définir des figures simples, un « carré » par exemple, comme des objets prototypiques et uniques. La nature des « objets visuels » implique ainsi l’existence d’un « vaste domaine invisible ». Sans une telle prise en compte, la compréhension correcte de la nature de l’objet visuel n’est pas possible. Cette découverte devrait permettre de mener à une théorie de la syntaxe formelle des formes visuelles fondamentales. (shrink)

1 More than two centuries later, the aesthetic reflection of Idealism does not seem to have lost interest in philosophical debate at all. It is a multifaceted interest, which has partly historical-conceptual reasons, since it was post-Kantian philosophy that first posed the problem of defining art in systematic and cognitive terms, and partly more genuinely theoretical ones, for instance the contemporary declinations of a typically Idealistic theme such as the socio-historical determination o...

This paper reconsiders the Idealistic aesthetics of tragedy from an unconventional point of view. It investigates the relationship between theory and dramatic canon by focusing on those works and authors that are excluded from the canon by the theoretical discourse. My aim is to show that Idealist philosophers and Romantic critics concur in constructing a unitary model of the tragic conflict that is partly defined through its contraposition to the ‘Senecan’ conception of tragedy as a representation of suffering and as (...) a dialectic of passions. Seneca here stands for an entire line of European dramaturgy, which involves Shakespeare and culminates in French Classicism. This contrast does not merely concern a literary model, but also, more generally, the conception of subjectivity underlying the dramaturgy of passions. This paper thus helps to shed light on the controversial relationship between the idealistic philosophy of the tragic with modern tragedy at large. -/- Keywords: Theory of Tragedy, Idealism, Seneca, Hegel, Pathos . (shrink)

Literature plays a relevant role in Hegel’s philosophical discourse. On the one hand, literary references are often interwoven with his speculative argumentation, on the other hand, the Aesthetics regards poetry as the highest form of artistic expression, for it is able to represent the different ways of human action and to bring up their hidden ideal presuppositions. The aim of this paper is to show how the concept of action is crucial to the interpretation of literary phenomena in the Aesthetics, (...) but assumes different configurations in relation to the historical transformation of the concept of subjectivity. To verify the specifically aesthetic import of concepts such as action and recognition, which originally belong to the ethical-political sphere, I will examine Hegel’s interpretation of the chivalric literature, which is present in various areas and with different functions in the structure of the Aesthetics, as a component of his theory of subjectivity. This topic has been little studied but offers an interesting perspective on some problematic points of Hegel’s theory: the controversial relation between the structural dimension of the concept of art and historical development of artistic forms, the apparently univocal paradigm of classic beauty, and the definition of artistic modernity. (shrink)

In the article I discuss the philosophical premises of Kleist's literary work, focussing on the relationship between his conception of moral conscience and Kant's ethics.

This book describes a novel methodology for studying algorithmic skills, intended as cognitive activities related to rule-based symbolic transformation, and argues that some human computational abilities may be interpreted and analyzed as genuine examples of extended cognition. It shows that the performance of these abilities relies not only on innate neurocognitive systems or language-related skills, but also on external tools and general agent–environment interactions. Further, it asserts that a low-level analysis, based on a set of core neurocognitive systems linking numbers (...) and language, is not sufficient to explain some specific forms of high-level numerical skills, like those involved in algorithm execution. To this end, it reports on the design of a cognitive architecture for modeling all the relevant features involved in the execution of algorithmic strategies, including external tools, such as paper and pencils. The first part of the book discusses the philosophical premises for endorsing and justifying a position in philosophy of mind that links a modified form of computationalism with some recent theoretical and scientific developments, like those introduced by the so-called dynamical approach to cognition. The second part is dedicated to the description of a Turing-machine-inspired cognitive architecture, expressly designed to formalize all kinds of algorithmic strategies. (shrink)

That there is a connection between Romanticism and the sublime seems obvious, and it is indeed evident in the poetic, artistic, and musical production of European Romanticism as a whole. The sublime, as tension toward infinity, as elevation of the soul, and as experience of the absolute in nature, constitutes undoubtedly one of the characterizing features of the poetics of Romanticism. Much less known, however, is the theoretical reflection on the concept of the sublime, and in fact scholarship on the (...) modern sublime tends to neglect its theoretical development after Kant and Schiller, moving directly to Nietzsche and the postmodern. The theoretical definition of the sublime, on the contrary, plays a far from secondary role in the aesthetic of German idealism, where it was not conceptualized in opposition to the beautiful, but rather as one of its constitutive moments. While no longer approached in relation to the aesthetic experience of nature, the sublime has been included in art theory, ostensibly losing its theoretical centrality, but in reality contributing to modify radically the characteristics of the idea of the beautiful. That of philosophers is a form of crypto-sublime that is parallel but distinct from the sublime of poets and artists, and that operates underground to influence the definition of the forms of beauty. The present volume aims to outline the development of the philosophical conception of the sublime from Schiller, who formulated a theory of tragedy based on Kant’s philosophy and thereby laid the foundation of Romanticism, to the philosophers of the Hegelian school, who placed the sublime, together with the comic, the ugly, and the grotesque, at the center of aesthetic reflection. (shrink)

Summary Franz Brentano, 1838–1917, introduced the intriguing concept of “plerosis” in order to account for aspects of the continuum that were “explained” by formal mathematics in ways that he considered absurd from the perspective of intuition, especially visual awareness and imagery. In doing this, he pointed in directions later developed by the Dutch mathematician Luitzen Brouwer. Brentano’s notion of plerosis involves distinct though coincident points, which one might call “atomic entities with parts”. This notion fits the modern concepts of “receptive (...) field” in neurophysiology, “perceptive field” in psychology and “differential operator” in the formal theory of scale space. We identify Brentano’s boundary points as the primordial atomic Gestalts of visual imagery. The concept deserves to play a key role in Gestalt theory. (shrink)

Nous abordons ici l’étude de la phénoménologie des objets visuels à partir de comptes rendus verbaux, de réponses à des questions ou de descriptions spontanées, ainsi que d’associations libres. Nous demandons même parfois aux sujets de réaliser de simples croquis. Cet éventail de méthodes permet de sonder la structure profonde de la conscience visuelle. Celle-ci est avant tout révélée par ce qui n’est pas spontanément mentionné par des qualités accidentelles ou encore par des changements induits lors de variations ou ajouts (...) mineurs. Nous avons trouvé une concordance remarquable parmi un grand nombre de participants. Ceci démonte que les comptes-rendus verbaux permettent d’explorer puissamment la structure de la conscience visuelle. Tout comme le langage, les « objets visuels simples » ont des racines profondes dans la conscience. Ces fondations « invisibles » servent à définir des figures simples, un « carré » par exemple, comme des objets prototypiques et uniques. La nature des « objets visuels » implique ainsi l’existence d’un « vaste domaine invisible ». Sans une telle prise en compte, la compréhension correcte de la nature de l’objet visuel n’est pas possible. Cette découverte devrait permettre de mener à une théorie de la syntaxe formelle des formes visuelles fondamentales. (shrink)

Philosophical reflection is a constitutive element of Schiller’s dramatic production from its very beginning. This chapter reconstructs the different stages of the interaction between Schiller’s tragedies and philosophy, the turning point of which can be seen in his theoretical work inspired by Kant. In his early tragedies, philosophical themes enter directly into the dramatic construction: in Die Räuber, we find a philosophical anthropology and critique of materialism, whereas in Fiesco and in Don Karlos echoes of the thought of Shaftesbury, Montesquieu (...) and Ferguson bring out the relationship between moral principles and political action. Instead, the late tragedies, beginning with Wallenstein, show a more complex and critical attitude towards philosophical thought, and are partly conceived as a response to questions left open in his theoretical writings. (shrink)

Riassunto: L’articolo di Caterina Villani intende mostrare come, per risolvere la “sfida dei concetti astratti”, all’ Embodied Cognition occorra concepire l’astrattezza da una prospettiva “multidimensionale”. Questo commento contiene due considerazioni. La prima riguarda il nesso logico tra la sfida dei concetti astratti e il cosiddetto “problema della generalizzazione”. La seconda discute alcune possibili tensioni dell’approccio multidimensionale stesso. Parole chiave: Concetti astratti; Concetti concreti; Embodied Cognition; Approccio multidimensionale; Generalizzazione Two Challenges for the Multidimensional Approach: Caterina Villani’s paper aims to show how, (...) in order to solve the “challenge of abstract concepts”, the paradigm of Embodied Cognition might have to conceive of abstractness from a “multidimensional” perspective. The present commentary includes two considerations. The first addresses the logical relationship that is supposed to hold between the challenge of abstract concepts and what is called the “generalization problem”. The second concerns possible tensions involved in the multidimensional approach itself. Keywords: Abstract Concepts; Concrete Concepts; Embidied Cognition; Multidimensional Approach; Generalization. (shrink)

Knowledge representation is a central issue for Artificial Intelligence and the Semantic Web. In particular, the problem of representing n-ary relations in RDF-based languages such as RDFS or OWL by no means is an obvious one. With respect to previous attempts, we show why the solutions proposed by the well known W3C Working Group Note on n-ary relations are not satisfactory on several scores. We then present our abstract model for representing n-ary relations as directed labeled graphs, and we show (...) how this model gives rise to a new ontological pattern for the representation of such relations in the Semantic Web. To this end, we define PROL. PROL is an ontological language designed to express any n-ary fact as a parametric pattern, which turns out to be a special RDF graph. The vocabulary of PROL is defined by a simple RDFS ontology. We argue that the parametric pattern may be particularly beneficial in the context of the Semantic Web, in virtue of its high expressive power, technical simplicity, and faithful meaning rendition. Examples are also provided. (shrink)