Studying trust in the context of human-robot interaction is of great importance given the increasing relevance and presence of robotic agents in the social sphere, including educational and clinical. We investigated the acquisition, loss and restoration of trust when preschool and school-age children played with either a human or a humanoid robot in-vivo. The relationship between trust and the representation of the quality of attachment relationships, Theory of Mind, and executive function skills was also investigated. Additionally, to outline children’s beliefs (...) about the mental competencies of the robot, we further evaluated the attribution of mental states to the interactive agent. In general, no substantial differences were found in children’s trust in the play-partner as a function of agency (human or robot). Nevertheless, 3-years-olds showed a trend toward trusting the human more than the robot, as opposed to 7-years-olds, who displayed the reverse pattern. These findings align with results showing that, for 3 and 7-year-olds, the cognitive ability to switch was significantly associated with trust restoration in the human and the robot, respectively. Additionally, supporting previous findings, we found a dichotomy between attributions of mental states to the human and robot and children’s behavior: while attributing to the robot significantly lower mental states than the human, in the trusting game children behaved in a similar way when they related to the human and the robot. Altogether, the results of this study highlight that similar psychological mechanisms are at play when children are to establish a novel trustful relationship with a human and robot partner. Furthermore, the findings shed light on the interplay – during development – between children’s quality of attachment relationships and the development of a Theory of Mind, which act differently on trust dynamics as a function of the children’s age as well as the interactive partner’s nature (human vs. robot). (shrink)

Movement perception and its role in aesthetic experience have been often studied, within empirical aesthetics, in relation to the human body. No such specificity has been defined in neuroimaging studies with respect to contents lacking a human form. The aim of this work was to explore, through functional magnetic imaging (fMRI), how perceived movement is processed during the aesthetic judgment of paintings using two types of content: human subjects and scenes of nature. Participants, untutored in the arts, were shown the (...) stimuli and asked to make aesthetic judgments. Additionally, they were instructed to observe the paintings and to rate their perceived movement in separate blocks. Observation highlighted spontaneous processes associated with aesthetic experience, whereas movement judgment outlined activations specifically related to movement processing. The ratings recorded during aesthetic judgment revealed that nature scenes received higher scored than human content paintings. The imaging data showed similar activation, relative to baseline, for all stimuli in the three tasks, including activation of occipito-temporal areas, posterior parietal and premotor cortices. Contrast analyses within aesthetic judgment task showed that human content activated, relative to nature, precuneus, fusiform gyrus and posterior temporal areas, whose activation was prominent for dynamic human paintings. In contrast, nature scenes activated, relative to human stimuli, occipital and posterior parietal cortex/precuneus, involved in visuospatial exploration and pragmatic coding of movement, as well as central insula. Static nature paintings further activated, relative to dynamic nature stimuli, central and posterior insula. Besides insular activation, which was specific for aesthetic judgment, we found a large overlap in the activation pattern characterizing each stimulus dimension (content and dynamism) across observation, aesthetic judgment and movement judgment tasks. These findings support the idea that the aesthetic evaluation of artworks depicting both human subjects and nature scenes involves a motor component, and that the associated neural processes occur quite spontaneously in the viewer. Furthermore, considering the functional roles of posterior and central insula, we suggest that nature paintings may evoke aesthetic processes requiring an additional proprioceptive and sensori-motor component implemented by “motor accessibility” to the represented scenario, which is needed to judge the aesthetic value of the observed painting. (shrink)

This investigation draws from research on negative polarity item (NPI) illusions in order to explore a new and interesting instance of misalignment observed for grammatical sentences containing two negative markers. Previous research has shown that unlicensed NPIs can be perceived as acceptable when occurring soon after a structurally inaccessible negation (e.g. ever in *The bills that no senators voted for have ever become law). Here we examine the opposite configuration: grammatical sentences created by substituting the NPI ever with the negative (...) adverb never (e.g. The bills that no senators voted for have never become law). The processing and acceptability of these sentences was studied using three tasks: a speeded acceptability judgment (experiment 1), a self-paced reading task (experiment 2), and an offline acceptability rating (experiment 3). The results are consistent across measures in showing that the integration of the adverb never is disrupted by the linearly preceding but structurally inaccessible negative quantifier no in the relative clause. In our view, this pattern of results is in line with Parker and Phillips’ (2016) proposal that NPI illusions arise when the context containing the inaccessible negation has not been fully encoded by the time the NPI ever is encountered, making the embedded negative quantifier transparently available as a licensor. In a similar vein, the disruption effects observed for grammatical sentences containing two negative elements could arise if the negative quantifier is still being integrated when never is encountered, forcing the parser to deal with two negative elements simultaneously. This interpretation suggests that the same incomplete encodings that could be ameliorating the online perception of unlicensed NPIs could also be responsible for deteriorating the perception of the sentences under investigation here. This would represent an illusion of ungrammaticality. Furthermore, these results provide evidence against the speculation that NPI illusions are the consequence of misrepresenting ever as its near neighbor never, given that continuations with never are judged as unacceptable in spite of their grammaticality. Together, these findings inform the landscape of hypotheses on NPI illusions and offer valuable insights on the complexity of multiple negation and the relation between processing difficulty and acceptability. (shrink)

Considerações acerca da emenda da sociologia das religiões -- Conceito da sociologia da arte.

El saber de Aristóteles -- Cogito ergo sum -- Heidegger y la filosofía -- Filosofía y teoría del amor.

“Perspective is much more than a secret technique for imitating a reality… It is the invention of a world dominated and possessed through and through.” These inimical words by Maurice Merleau-Ponty encapsulate a customary philosophical position, as explicit and implicit references to early modern culture by critical theorists and continental philosophers lead to an uninviting and even sinister picture. Because of its emphasis on the human eye, quantitative spatial relations, and the virtual incising of pictorial space via linear perspective, the (...) Renaissance was cast as a formidable villain in order to uphold modern artistic production. It is an accusatory characterization.. (shrink)

SUMMARYThis essay provides a contextualised analysis of a set of texts that Marsilio Ficino collected in one of his extant working notebooks—Florence, Biblioteca Riccardiana, MS 92—and probably used as a textual basis for his Commentary on Plato's Symposium. In this context, I will discuss Ficino's treatment of his sources, investigating specific facets of his reading and excerpting practices. Special emphasis will be placed on the Latin section of the manuscript, containing a set of hitherto unexplored excerpts from Plotinus's Enneads. The (...) study of this aspect of Ficino's work aims to shed light on his methodology as well as on his philosophical outlook. More generally, the article will provide further information on Renaissance reading practices. More specifically, it will offer new insight into the study of the genesis of Ficino's commentary. (shrink)

Le XVIIIe siècle, siècle des Lumières, évoque immanquablement dans nos esprits les noms de Diderot, Rousseau, Voltaire, D'Alembert. Né à Uzès (Gard) en 1679, mort en 1767, Firmin Abauzit, réfugié à Genève après la révocation de l'édit de Nantes en 1685, marqua cependant de son empreinte cette époque si riche, et ce, malgré l'ignorance que notre siècle paraît en avoir ; adulé, recherché par ses contemporains pour sa science infinie et sa tolérance inflexible, il fut le père spirituel de Jean-Jacques (...) Rousseau, et le maître à penser des plus éminents scientifiques (Newton, Leibniz), philosophes (Voltaire, Rousseau), et souverains de son temps (Guillaume III d'Angleterre), illuminant de sa clarté cet aréopage. Même l'intransigeant Sainte-Beuve condescendit à faire son éloge au XIXe siècle. Malheureusement oublié par son excès de modestie, son refus de publier, il mérite par la modernité de ses idées et la profondeur de son esprit, de ressurgir aujourd'hui du passé et de retrouver sa place au sommet, comme Rousseau l'a si bien clamé dans la Nouvelle Héloïse : " Non ce siècle de la philosophie ne passera point sans avoir connu un vrai philosophe et un seul! Sage et savant Abauzit... " Que notre siècle lui rende cet honneur. (shrink)

El presente estudio se propone iluminar la recepción de la exhortación apostólica Amoris laetitia. Para ello se toma como hilo conductor los tres verbos que aparecen en el capítulo VIII de la misma: acompañar, integrar y discernir, teniendo presente el conjunto de la exhortación. Siguiendo de cerca el vademécum escrito por tres profesores de la sede central del Instituto Teológico Juan Pablo II, consideramos sucesivamente el significado del acompañamiento, la integración y el discernimiento para la pastoral familiar. En el acompañar (...) nos detenemos en el acompañamiento de novios en su preparación próxima, en el acompañamiento de los primeros años de matrimonio, y en el acompañamiento de situaciones difíciles, como tres aspectos singularmente importantes hoy. El retorno a la comunión plena en la Iglesia es el objetivo del camino de la integración que tiene como sujeto a la entera comunidad cristiana. Finalmente, discernir no quiere decir discernir sobre el estado de gracia de una persona, cosa que únicamente le corresponde a Dios, sino que el objeto del discernimiento es triple: el deseo, el vínculo matrimonial y los pasos concretos. (shrink)

¿Cómo es posible encontrar una constante en una obra que tiene en la ruptura su principal argumento? Una primera línea se puede percibir en el trabajo de Žižek sobre una política del goce cuya trayectoria circula desde el deseo a la pulsión. Desde una investigación muy orientada en el problema del sujeto, en el carácter sintomático del mismo, Žižek se ha desplazado hacia un análisis de la relación entre el objeto a y la pulsión en el marco del capitalismo actual. (...) En conexión con esta problemática se encuentra una segunda línea que tiene como punto central el trabajo crítico sobre las relaciones entre economía y política; frente al desafío que supone hoy en día la circulación espontánea del capital y el abandono del ámbito económico por parte de la teoría política. Por un lado nos encontramos con los dos sentidos del término escatología, el económico y el teológico-político, que convergen en la noción de exceso, sea de la pulsión o sea del objeto a. Al mismo tiempo, Žižek considera que no es posible traducir la atención sobre el exceso capitalista y su propia revolución inmanente en términos de dominación política.Ambas secuencias se encuentran, en definitiva, íntimamente vinculadas en la crítica de la economía política del discurso que Žižek lleva a cabo. La introducción del término paralaje puede servir como alternativa para entender la oscilación permanente que se produce en su obra entre síntoma y escatología. Una opción para leer a Žižek en función de sus incesantes desplazamientos, comenzando por el más fundamental: la paralaje entre lectura y escritura. (shrink)

El presente artículo pasa revista a las dimensiones hermenéuticas presentes en la filosofía aristotélica, y se detiene en la filosofía moral. El concepto φρόνησις llamó la atención de Heidegger, que acabó aproximándolo al de conciencia (Gewissen), y de Gadamer, que encuentra en él un modelo de los problemas de la aplicación (Anwendung) en la tarea hermenéutica. El propio Gadamer acabará defendiendo el carácter dialogal y hermenéutico de la retórica, que no es más que una forma de la φρόνησις.

Abstract. This essay theorizes madness as a chthonic emplacement to dishevel existentially insufficient and detached interpretations of disorder. Reflecting on Nietzsche’s emphasis on poetry over systematic thought, I take up Lorca and Baudelaire’s visceral language on death and the earthly to revisit chthonic myths as expressing an underworld uncontrollable sphere beyond systematicity. Written from the phenomenologically precarious position of my own mental illness, this essay develops a sincere rhetoric to approach the chthonic from within rather than at sterilized distance. This (...) positioning retains the indexicality of the intense and disorganized as a critical facet, in turn exploring the nuances of the experience without discursive reductions or romantic musings, from the ground down. (shrink)

This essay sets forth a nuanced interpretation of Baldassare Peruzzi’s stage design for La Calandria (1514) that addresses the spatial disassociations found in the drawing in relation to active modes of visual engagement.

Velázquez’s Democritus (ca. 1630) presents a unique encounter: not only are there few depictions in which the Greek philosopher appears with a sphere that shows an actual map, but Velázquez used a court jester as a model for Democritus, thus placing the philosopher within a courtly space. When we study the painting in relation to the literary interests of the Spanish Golden Age and its socio-political circumstances, we can see the figure of Democritus as far from just another instantiation of (...) a conventional trope. The philosopher’s smile and his crepuscular globe entrap the viewer in a semiotic game with pedagogical and ethical goals. While the scholarship on the painting has dwelt extensively on the identification of the figure, this essay moves beyond the superficial aspects of subject identity in order to explore how the painting articulates and requests a profoundly philosophical engagement. I thus examine Democritus in relation to contemporary literary and philosophical themes, many of which were present in Velázquez’s own personal library: the period’s understanding of the philosopher, cartographic spheres, and treatises on laughter. Considered in this manner, Velázquez’s figure is not responding to the folly of humanity in general, as is commonly the case in representations of the philosopher, but is rather presented through a courtly prism in which conquest, geography, and politics are inescapably interrelated. Velázquez’s Democritus emphasizes the philosophical and moral qualities of a learned and decorous laughter, which performs a critical and ethical role framed by Spain’s political difficulties. (shrink)

Through an interdisciplinary examination of sixteenth-century theatre, Visual Experiences in Cinquecento Theatrical Spaces studies the performative aspects of the early modern stage, paying special attention to the overlooked complexities of audience experience. Examining the period’s philosophical and aesthetic ideas about space, place, and setting, the book shows how artists consciously moved away from traditional representations of real spaces on stage, instead providing their audiences with more imaginative and collaborative engagements that were untethered by strict definitions of naturalism. In this way, (...) the book breaks with traditional interpretations of early modern staging techniques, arguing that the goal of artists in this period was not to cater to a single privileged viewer through the creation of a naturalistically unified stage but instead to offer up a complex multimedia experience that would captivate a diverse assembly of theatre-goers. (shrink)