We study a modal language for negative operators—an intuitionistic-like negation and its paraconsistent dual—added to (bounded) distributive lattices. For each non-classical negation an extra operator is hereby adjoined in order to allow for standard logical inferences to be opportunely restored. We present abstract characterizations and exhibit the main properties of each kind of negative modality, as well as of the associated connectives that express consistency and determinedness at the object-language level. Appropriate sequent-style proof systems and adequate kripke semantics are also (...) introduced, characterizing the minimal normal logic and a few other basic logics containing such negative modalities and their companions. (shrink)

Language does not fossilize but this does not mean that the language's evolutionary timeline is lost forever. Great apes provide a window back in time on our last prelinguistic ancestor's communication and cognition. Phylogeny and cladistics implicitly conjure Pan (chimpanzees, bonobos) as a superior (often the only) model for language evolution compared with earlier diverging lineages, Gorilla and Pongo (orangutans). Here, in reviewing the literature, it is shown that Pan do not surpass other great apes along genetic, cognitive, ecologic, or (...) vocal traits that are putatively paramount for language onset and evolution. Instead, revived herein is the idea that only by abandoning single‐species models and learning about the variation among great apes, there might be a chance to retrieve lost fragments of the evolutionary timeline of language. (shrink)

O trabalho de Kurt Goldstein ainda é pouco conhecido no Brasil. Sendo um dos fatores quedificultam o acesso aos seus escritos a ausência de traduções das suas obras para a línguaportuguesa. No entanto, sua influência está presente em diversas áreas do conhecimento, aexemplo da Neurologia, Neuropsicologia, Psicologia e Filosofia. Desse modo, com o intuitode resgatar os fundamentos de conhecimentos e práticas realizadas nos camposinfluenciados por ele, esse artigo apresenta uma introdução à sua obra. Foram utilizadoscomo base os escritos The Organism: (...) A holistic approach to biology derived frompathological data in man e Human Nature in the light of psychopathology. A partir daanálise dessas obras foram selecionados três grandes temas a serem explorados: a questãodo método para o autor, a teoria do organismo apresentada por ele e a noção de naturezahumana presente em seus trabalhos. Por meio dessa retomada da obra do autor, pretendeseapontar para sua “fenomenologia”, além de abrir caminho para novas discussões sobresua influência. (shrink)

I seek to show in this paper how, in addressing the concept of “I” and the question of self-knowledge in the Critique of Pure Reason, one encounters a paradox, which is essentially a consequence of the doctrine of transcendental idealism. I point to Kant's concept of “I” and its three co-constitutive perspectives. The importance of the concept of subject and its intertwining with the concept of reason is pointed out, as also how these two concepts appear in the text of (...) the Critique of Pure Reason as presuppositions. Subsequently, I deal with some basic questions of transcendental idealism. Finally, I briefly present the three perspectives of the "I": as a phenomenon, as a transcendental structure, and as a noumenon. I conclude by bringing back what Kant himself conceives as a paradox, which is the subject’s self-affection, and the relation between the subject as noumenon and as inner sense. (shrink)

Music and affects share a long history. In recent times, 4E cognitive sciences (embodied, embedded, enacted, and extended), situated affectivity, and related ecological theoretical frameworks have been conceptualizing music as a case of a tool for feeling. Drawing on this debate, I propose to further theorize the role of music in situating our affectivity by analyzing how the very affective affordances of music are technologically situated. In other words, I propose to shift the attention from music as a tool for (...) feeling to the tools for feeling music. I argue that the experience of music as a tool for feeling may be altered, enhanced, or lessened depending on the tools for feeling music. I investigate the extent to which AI might be a case of a tool for feeling music and examine the influence it could exert over musical affectivity. I conclude that AI can be considered a tool for feeling music of curatorial type and that the limitations and/or biases of AI as a method risk lessening the power of musical affective affordances. (shrink)

The purpose of this article is to examine the objective side of subjectivity formation through music. I attempt to show how music is a way to configure subjectivity in its interiority, but in a way that it can be shared between other individual subjectivities. Music has an objective structure, but this structure is the temporal and sonorous interiority of subjectivity. It has as its objective manifestation and consequence the feelings and emotions. These feelings are subjective, and in the level of (...) subjective Geist they are related to intuition. Hegel believes that such intuition cannot be properly communicated, due to its exclusive access to the individual subject himself. Despite that, music is an art, and it takes part in the level of absolute Geist. That means that music is the connection between the objective and subjective sides of Geist, being a product of social relations, including the sharing, experience and recognition of subjective operations by the participants in society as something in common. Art is related to intuition but it is not intuition itself, nor it is reduced to the capacity of intuition. All three capacities of the subjective Geist in the theoretical Geist (namely intuition, representation and thinking) can be part of the relationship between art and the individual perspective.However, the link between art and intuition is an analogy between the subjective Geist and the absolute Geist, considering that art is a level of manifestation of social self-consciousness where the people and the social group have not yet become conscious of its content in its manifestation. The exposition of the ideal content of social relations is manifested through absolute Geist, beginning with its sensible manifestation. After this process, it is signified through a practice related to representation, and finally it is related to a conceptually and linguistically mediated practice, philosophy. These products cannot be a consequence of a mere subjective connections, but must be (as part of absolute Geist) a consequence of the objective relation between individuals in its subjective manifestations. Furthermore, subjective capacities are a condition without which the development of the absolute Geist is not possible. At the same time, it is not possible that subjective Geist’s capacities can be fully realized without social relations. Science is not a product of an individual-solipsistic relationship with the environment, but a product of a social relations, including language, shared experiences and shared ways of comprehension, such as the common way to feel and receive the environment in a subjective level discussed below. I divide this exposition into three parts: (1) music and subjectivity, where I deal with the relation between body vibration, time, sound and the formal interiority of the listener/musical subject, analyzing the form of music in its subjective side (the relation to the listener); (2) music and content, where I examine the content generated by music as being the process of formation itself (i.e. the process of given form to the interiority of subjectivity through sounds becomes its own content, namely, the feelings); and (3) music and words, where I scrutinize the relationship between music and words’ capacities to make reference and to have content, considering the connection between pure music and lyrics, and between music and poetry as singular forms of art. I conclude with the idea that music has a specific role in Hegel’s system, which is to bring to light and develop absolute Geist’s (understood as the objectivation and formation of a social and cultural subjectivity) internal aesthetic form. (shrink)

BackgroundIn Italy, the COVID-19 pandemic has caused a collective trauma. Post-traumatic growth has been defined as the subjective experience of positive psychological changes as a result of a traumatic event. PTG can involve changes in five psychological main dimensions: relating to others, new possibilities, personal strength, spiritual change, and appreciation of life. In the context of national emergencies, those PTG dimensions encompassing changes at the social level can play a role in coping strategies that involve a renewed sense of self (...) and one’s social identities, including national identities, and in turn, foster a stronger sense of trust and connection to others.AimTo investigate how each of the five PTG dimensions mediates the association between the salience of national identity and interpersonal trust in a sample of Italian young adults. Trust in national and European institutions were expected to positively predict the strength of the Italian national identity which in turn was expected to be positively associated with interpersonal trust, and the PTG relating to others dimension to mediate this association.MethodThis study involves the secondary analysis of data from a representative sample of 2,000 Italian young adults. Participants completed a web survey during the peak of the COVID-19 crisis in Italy with measures of trust in EU and national institutions, national identity, interpersonal trust, and the PTG Inventory. Structural equation modeling procedures were employed for key hypotheses tests.ResultsTrust in national institutions positively predicted national identity, which in turn was positively associated with interpersonal trust. Evidence of a full mediation effect of the PTG relating to others dimension on the association between national identity and interpersonal trust was found.DiscussionFindings contribute to clarify the psychological responses to collective traumas. In the context of Italy’s COVID-19 crisis, trust in national institutions reinforced Italian national identity, which was in turn associated with greater interpersonal trust, but only when psychological responses to the trauma involved changes in how individuals perceived and related to others, and not merely a focus on the self. Theoretical and practical implications are discussed. (shrink)

Quest’articolo prova ad offrire una ricostruzione storica e un’analisi teorica di due concetti che hanno pervaso il dibattito politico contemporaneo: post-verità e complottismo. Nel farlo, il principale obiettivo di chi scrive è quello di smentire la presunta filiazione tra post-strutturalismo e post-truismo. Questo tentativo si fonda sull’ipotesi che il passaggio da una società del segreto ad una società della trasparenza abbia prodotto di fatto una invisibilizzazione del reale attraverso la sua sovra-esposizione documediale.

La sección de literatura de esta edición N.° 31, nos brinda un paisaje poético dibujado por el escritor Adriano (de San Martín) Corrales Arias, oriundo de Costa Rica, territorio cuyo relieve y herencia mesoamericana recorre a través de palabras sinuosas, vertidas en los poemas 12, 29 y 34 de su libro Vanitas, publicado en la capital costarricense por la Editorial Arlekín, en 2021.

In this paper, I present some concepts of Hegel’s philosophy of art, aiming to interpret a cultural-political situation, namely, Bolsonarism in contemporary Brazil. I present the ideas in the following order: (a) the modes of comprehension, mainly through the distinction between the poetic and the prosaicmodes; (b) the conception of “Action [Handlung]” as a category of art, by means of its three levels: State of the World [Weltzustand], Situation [Situation], and Action itself [Handlung als solche]; (c) an evaluation of the (...) anachronism of the ideas of myth and hero in contemporary times, through a reflection mediated by the categories of sublation [Aufhebung] and history. (shrink)

We present an experiment designed to investigate three different mechanisms to achieve impartiality in distributive justice. We consider a first-person procedure, inspired by the Rawlsian veil of ignorance, and two third-party procedures, an involved spectator and a detached observer. First-person veiled stakeholders and involved spectators are affected by an initially unfair distribution that, in the stakeholders’ case, is to be redressed. We find substantial differences in the redressing task. Detached observers propose significantly fairer redistributions than veiled stakeholders or involved spectators. (...) Risk preferences partly explain why veiled stakeholders propose less egalitarian redistributions. Surprisingly, involved spectators, who are informed about their position in society, tend to favour stakeholders holding the same position as they do after the initial distribution. (shrink)

En el terreno de la moral, el contraste entre lo ¿que el filósofo Wilfrid Sellars denominó «la ¿imagen manifiesta» y la «imagen científica» es enorme y tiene unas consecuencias prácticas ineludibles. Este libro reduce la distancia entre esa imagen manifiesta y la imagen científica, dotando al lector de referencias fundamentales, enfoques diversos y un amplio abanico de temáticas a partir de investigaciones experimentales sobre nuestra conducta moral.

This paper explores Victoria Welby's fundamental assumption of meaning process (“semiosis” sensu Peirce) as translation, and some implications for the development of a general model of intersemiotic translation.

O presente artigo problematiza os pontos de divergência e as possíveis convergências entre Ernst Cassirer e Martin Heidegger no âmbito da disputa de Davos e seus arredores. Propomos que a contraposição teórica destes autores, neste contexto centralizada em duas possíveis linhas de interpretação da filosofia crítica kantiana com especial enfoque à doutrina do esquematismo transcendental, não seja interpretada de maneira incomensurável, como um conflito entre duas posições antitéticas. Contrariamente, argumentamos em favor de um ponto de partida dialógico, decorrente da existência (...) de um território teórico comum, subjacente à contenda de Davos, a partir do qual será possível demonstrar como, e até que ponto, Heidegger e Cassirer compartilham determinados pressupostos filosóficos, evidenciando, por fim, onde se localizaria tanto o limiar quanto o epílogo desta partilha de caminhos trilhada por tais pensadores. (shrink)

Resenha de Em Um com o Impulso, de Vladimir Safatle. O livro trata da emancipação social por meio da estética da arte. O livro parte da crítica da associação tradicional entre autonomia, modernidade, e emancipação social, e divide-se em três partes: a primeira trata da autonomia; a segunda, do sublime; a terceira, da expressão. Soma-se a isto um excerto e a conclusão. A perspectiva geral tem o viés da dialética negativa adorniana vinculada com a psicanálise – viés este bastante conhecido (...) nos trabalhos do autor. (shrink)

Which sounds composed the first spoken languages? Archetypal sounds are not phylogenetically or archeologically recoverable, but comparative linguistics and primatology provide an alternative approach. Labial articulations are the most common speech sound, being virtually universal across the world's languages. Of all labials, the plosive ‘p’ sound, as in ‘Pablo Picasso’, transcribed /p/, is the most predominant voiceless sound globally and one of the first sounds to emerge in human infant canonical babbling. Global omnipresence and ontogenetic precocity imply that /p/‐like sounds (...) could predate the first major linguistic diversification event(s) in humans. Indeed, great ape vocal data support this view, namely, the only cultural sound shared across all great ape genera is articulatorily homologous to a rolling or trilled /p/, the ‘raspberry’. /p/‐like labial sounds represent an ‘articulatory attractor’ among living hominids and are likely among the oldest phonological features to have ever emerged in linguistic systems. (shrink)

In this paper, I consider how it would be possible to think about the historicity of music through Hegel’s thought. I will compare Hegel’s idea with a historical event that is considered relevant in the history of music: Schoenberg’s twelve-tone music, taken here also as a model of immanent negation and Aufhebung of tonal system in music. Furthermore, I will take Schoenberg’s twelve-tone music as an instance and wonder about the role of music and its history in the sociocultural formation (...) (or, in Hegelian words, in the absolute Geist). I divide the exposition into four parts, namely: (1) the position of art before the absolute Geist; (2) a general exposition of art in the Lectures on the Philosophy of Art, placing music as a singular form of art; (3) an analysis of the characteristics of music in Hegel and (4) the comparison with Schoenberg’s twelve-tone music. I conclude that music, as an artistic form, brings the form of an internal feeling of a social subjectivity – a way to feel and understand sounds that transforms itself through history; in turn, both music and the form of an internal feeling of social subjectivity, have a historicity that can be understood as developed dialectically. Along these lines, the beginning of the Twentieth Century in music reveals, through Schoenberg and other composers, new intuitive configurations of this social subjectivity. (shrink)