The enormous increasing of connections between people and the noteworthy enlargement of domains and methods in sciences have augmented extraordinarily the cardinality of the set of meaningful human symbols. We know that complexity is always on the way to become complication, i.e. a non-tractable topic. For this reason scholars engage themselves more and more in attempting to tame plurality and chaos. In this book distinguished scientists, philosophers and historians of science reflect on the topic from a multidisciplinary point of view. (...) Is it possible to dominate complexity through reductionism? Are there other conceptual instruments useful to take account of complexity? What is complexity in biology, mathematics, physics and philosophy of mind? These are some of the questions which are faced in this volume. (shrink)

This book tells the curious story of an unexpected finding that sheds light on a crucial moment in the development of physics: the discovery of artificial radioactivity induced by neutrons. The finding in question is a notebook, clearly written in Fermi's handwriting, which records the frenzied days and nights that Fermi spent experimenting alone, driven by his theoretical ideas on beta decay. The notebook was found by the authors while browsing through documents left by Oscar D'Agostino, the chemist among (...) Fermi's group. From Fermi's notes, they reconstruct with skill and expertise the detailed timeline of the critical days leading up to his vital discovery. While much is already known about the road that led Fermi to his important result, this is the first time that it has been possible to reconstruct precisely when and how the initial evidence of neutron-induced decay was obtained. In relating this fascinating story, the book will be of great interest not only to those with a passion for the history of science but also to a wider audience. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 33.1 (2003) 60-79 [Access article in PDF] The Secret Power of Suggestion Scipio Sighele and the Postliberal Subject Suzanne R. Stewart-Steinberg He experiments one by one with about thirty young men. [...] Almost all of them respond immediately to his power of fascination by turning stiff throughout their bodies; their faces become contracted, terrified, sometimes cadaverous; they are at the mercy of the fascinator and follow his movements (...) like a magnet. [...] There is something pitiful, spasmodic in their features, something macabre in their gestures. [...] Donato has them all in his power, he attracts them in threes, in sixes, ten at a time, simply by rapidly staring into their eyes, even against their firm will and their obstinate efforts to resist his suggestion. [...] Donato, in the process, never speaks: he thinks, he wants and points. [...] —an eyewitness account, L'Italia (1886) Young male bodies that turn stiff despite their efforts to do otherwise—such were the events to be seen on the stage of the Teatro Scribe in Turin in 1886, events performed under the direction of "Donato" (the Belgian-born Alfred d'Hont), the new theatrical magnetizer of crowds. Enrico Morselli, one of Italy's leading psychiatrists of the period,1 assisted and himself succumbed to the fascination of Donato. In his important 1886 study on animal magnetism and hypnotic states, Morelli provided a rather positive portrait of the man. Donato, in his opinion, was not a vulgar man. First soldier, then state employee, journalist, novelist, poet, and finally student and apostle of animal magnetism, Donato had revolutionized hypnotic practice through his discovery of a phenomenon called "fascination." Donato was blessed with uncommon physical strength, quick and insistent eyes, a great agility of movement and much spirit. He had exchanged the magician's cap for the more sober tuxedo—quite appropriately, for he [End Page 60]rejects fluids, rejects the power and transmission of will; nor does he trade in somnambulist lucidity, in sight without eyes, in divination. He does not claim to have special secrets or gifts. Instead he claims that it is his quick and insistent "gaze" that produces a rapid and sudden shock to the nervous system of sensitive individuals. Where there is no "orgasm," he told me—but more accurately he should have said "predisposition"—his method does not work. [Morselli, Il magnetismo animale 281] What was then so revolutionary about Donato's method? Why were the spectacles at the Teatro Scribe perceived to be so radically new? And above all, why, as Morselli claims, did these shows come close to producing a political crisis right at the center of Europe [Magnetismo 271]?James Braid's discovery in 1842 that hypnotic sleep could be induced by the simple fixation on a luminous object had revolutionized magnetic theory and practice. Braid's was to prove an important discovery, for it made possible the shift from the putative supernatural powers of the hypnotist—based on the theory of the transmission of magnetic fluids or electric currents—to an analysis of characteristics thought to inhere in the hypnotized subject him- or herself. The real cause of hypnosis, its very effectivity, was to be found, as Morselli remarks, not in the magnetizer but in his subject [Magnetismo 32]. A rethinking, within the late-nineteenth-century literature on hypnotism, of what drives the subject, of what makes him act appears predicated then on a very peculiar form of interiority, of self-causation within the subject himself. At the end of its historical trajectory this rethinking would first result in the idea of auto-hypnosis or auto-suggestion, and then, by the beginning of the new century, it would found the psychoanalytic subject, traversed as he is by conflicting desires and topographically split between ego and superego. In both instances, however, obedience is exacted as a result of an internalized command and—and here lies the peculiarity and utter novelty of this subject—for that reason the subject ceases to be master of his own house.In the remarks that follow, I will leave aside Freud's own contributions... (shrink)

Nella teologia trinitaria di Enrico di Gand, e in particolare nell'uso della nozione di verbum mentis, confluiscono ad avviso dell'A. tre diverse tradizioni che vengono rielaborate in un sistema coerente dal maestro agostiniano. La prima, quella cui aderiscono Tommaso e Bonaventura, insiste sul fatto che le persone sono distinte tra loro proprie per mezzo di relazioni opposte. La seconda, rappresentata da Riccardo di san Vittore, che attribuisce la differenza tra le persone al loro diverso modo di emanazione e di (...) origine. La terza che riprende il modello psicologico della trinità di Agostino ed in particolare l'immagine del Figlio come Verbum. Enrico incorpora i diversi elementi di queste tradizioni in modo originale e sostiene che il Figlio è distinto dalle altre due persone in base al diverso modo di emanazione , ma che è diverso dal Padre e dallo Spirito Santo anche perché è Verbum. L'A. sottolinea la notevole influenza esercitata da Bonaventura sul pensiero trinitario di Enrico, anche dal punto di vista della terminologia utilizzata e ipotizza che ciò sia dovuto al ruolo di «propaganda» delle dottrine bonaventuriane svolto da Ruggero Marston e Matteo d'Aquasparta. (shrink)

Free Public Reason examines the idea of public justification, stressing its importance but also questioning the coherence of the concept itself. Although public justification is employed in the work of theorists such as John Rawls, Jeremy Waldron, Thomas Nagel, and others, it has received little attention on its own as a philosophical concept. In this book Fred D'Agostino shows that the concept is composed of various values, interests, and notions of the good, and that no ranking of these is (...) possible. The notion of public justification itself is thus shown to be contestable. In demonstrating this, D'Agostino undermines many current political theories that rely on this concept. Having broken down the foundations of public justification, D'Agostino then offers an alternative model of how a workable consensus on its meaning might be reached through the interactions of a community of interpreters or delegates at a constitutional convention. (shrink)

El artículo aborda una aplicación pedagógica del recurso retórico clásico del decorum en la pedagogía agustiniana. Se ofrece en primer lugar una introducción a la formación retórica agustiniana para posteriormente hacer un recorrido de la obra del Obispo de Hipona, deteniéndose en dos de los así llamados “Diálogos de Casiciaco”, concretamente en el De ordine, y el contra Académicos. El artículo analiza también desde la perspectiva del decorum la ep. 29, destacando cómo el Obispo de Hipona aplica dicho recurso retórico (...) a la solución de conflictos. Se aborda, asimismo, el De catechizandis rudibus, en donde el decorum, desde una perspectiva pedagógica agustiniana significa poner al alumno en la sintonía de la enseñanza, ya que según el Hiponate, es preciso “conectar para enseñar”. Finalmente aborda desde esta misma perspectiva el s. Dolbeau 5, 11 (= s. 114B ). (shrink)

The intention of Atomic Order is to encourage and contribute to the dialogue between philosophers and scientists by discussing a concrete example of scientific discovery according to a method acceptable and understandable to both sides. This discussion takes simultaneously into account the scientific and philosophical methodologies and mentalities. By regarding "pure" science or "pure" philosophy as limiting cases, it becomes evident that basic questions are best posed and answered by emphasiz ing the deeply embedded complementary relationship between the two. The (...) example chosen is atomic physics, and a systematic method is developed to illuminate the philosophical structure of this science--and science generally--from within.The book consists of two parts. The first part is devoted to the problem of atomic order as discovered and verified by physics, from the speculations of Dalton to the consequences of modern quantum mechanics. These chapters will afford a telescopic, historical review to the scientific reader and a reliable, understandable account of the physical discoveries and theories to the nonscientist. The second part analyzes the presuppositions, guiding principles, and implications that made possible the development of atomic physics and that impart a humanistic meaning to it. In separate chapters are discussed the epistemological structure of atomic physics, the new conception of matter implicit in the quantum theory, and the ontological implications of atomic order. It is seen that, in this area, science and philosophy are inextricably interpenetrated. A philosophic problematic is immanent in creative atomic science, as is evidenced by the numerous reflections and speculations of scientists that are quoted in the book. Conversely, an interest in scientific research is indispensable for a modern philosopher, and the philosopher may well be surprised and encouraged on recognizing the role already being played by philosophy in the supposedly pragmatic world of science.Dr. Cantore brings an ecumenical cast Lof mind to the healing of the bjcultural split between the humanists and the scientists. The recipient of a doctorate in physics and another in philosophy, he has drawn from both fields in a book dedicated to "making the educated public more aware of the need and method for a new synthesis between the two cultures.". (shrink)

This essay discusses the problem of the two cultures. According to the author the problem arises because science is the source of a new way of conceiving reality and man, different from the mental conception entertained by nonscientific persons. The article suggests methodological guidelines for the philosopher interested in understanding the humanistic mentality of the scientists. The approach proposed is inductive-genetic. The aim is to help the philosopher explore science in its developmental becoming so that he may become aware of (...) the reasons for the characteristic mentality of scientists as regards humanistic issues. The essay concludes with a discussion of the new perspectives disclosed to scientific-humanistic dialogue. (shrink)

Several independent lines of research in neurobiology seem to support the phenomenologically-grounded view of the dreaming brain/mind as a useful model for psychosis. Hallucinatory phenomena and thought disorders found in psychosis share several peculiarities with dreaming, where internally generated, vivid sensorimotor imagery along with often heightened and incongruous emotion are paired with a decrease in ego functions which ultimately leads to a severe impairment in reality testing. Contemporary conceptualizations of severe mental disorders view psychosis as one psychopathological dimension that may (...) be found across several diagnostic categories. Some experimental data have shown cognitive bizarreness to be equally elevated in dreams and in the waking cognition of acutely psychotic subjects and in patients treated with pro-dopaminergic drugs, independent of the underlying disorder. Further studies into the neurofunctional underpinnings of both conditions will help to clarify the use and validity of this model. (shrink)

INTRODUCTION The editors of this volume - Jarvie and D'Agostino - encountered John Watkins at such different times in his career that they have never ...

La reflexión de Francesco D'Agostino procede a partir de una sintética presentación de la genealogía y de los sucesivos desarrollos del concepto de "persona" en la cultura occidental, deteniéndose específicamente sobre su reciente identificación positivistá con la categoría de "sujeto de derecho" - y sobre su consiguiente manipulabilidad pragmática y normativa. Tal paradigma ha entrado en crisis, como testimonian las irresolubles problemáticas surgidas en torno a la disciplina legal del bias, y en particular a la dificultad, que se deriva (...) directamente, de contener normativamente toda tentación de un superpoder biopolítico: ni el intento empirista de rehabilitar el concepto de base de la capacidad de autodeterminación, aparece verdaderamente serio y persuasivo. Más prometedora resulta en cambio la propuesta de regresar a una fundamentación del derecho en la persona y en su concreta corporeidad: yendo más allá de las propuestas de Stefano Rodota, puestas fecundamente en confrontación con el personalismo de Elio Sgreccia, D'Agostino sugiere tomar en serio la idea de "biografía" para redescubrir en el fondo un integrado, por ser relacional, concepto de persona humana. En este empeño teorético aparece rico de consecuencias el paso de la consideración prioritaria de los cuerpos a aquella de la "carne", mucho más densa desde el punto de vista filosófico y teológico: tanto por vía de su referencia intrínseca a la vulnerabilidad, como por su estructural apertura, alternativa a la cerrazón individualista del cuerpo en sí mismo, a la relación con el otro por sí mismo y sobre todo con el Dios encarnado. (shrink)

Quale rapporto c'è tra una noticina di appena 30 righe e un'opera filosofica di quasi 500 pagine? A questa domanda, appassionante per chi s'interessa alla genesi delle opere del pensiero, Simone D'Agostino risponde esaminando il rapporto tra il capolavoro blondeliano del 1893, L'Action, e quella che si suole chiamare la "Première notule" del 5 novembre 1882. Il presente lavoro non è uno studio genetico del pensiero blondeliano, bensì una sua interpretazione sistematica da due punti focali e rispecchiantisi l'uno nell'altro. (...) Sotto questo aspetto, la ricerca di D'Agostino può definirsi unica nel suo genere. (shrink)

Television series seem to be made of images and sounds just like films, but Luca Bandirali and Enrico Terrone suggest an alternate framework for understanding television series: as concepts whereby narratives made of images and sounds can be constructed.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

The advent of the Italian Second Republic coincides with a phase of uncertainty about national identity. The 1990s was the decade in which Italy was no longer a country of emigration but became a land of immigration. Italian cinema registered this right away, and films on the topic of immigration continue to grow steadily. Paola Randi’s Into Paradiso is a rare comedy about immigration; this article shows how the film presents migratory dynamics and a ‘post-national’ feeling of identity. The analysis (...) focuses on the representation of space and stereotypes of masculinity, as well as the representation of those ‘Italian vices’ which have been, throughout the ages, an integral component of the Italian national identity project. (shrink)

'Io poi ho sempre pensato--scrive Henri Matisse nel 1935--che gran parte della bellezza di un quadro derivi dalla lotta impegnata dall'artista con i limiti del suo mezzo espressivo.'" Le sue parole riassumono bene il tema di questo libro, la lotta dell'artista con la materia dell'arte, dunque il ruolo fondamentale della costruzione concreta dell'arte rispetto all'idea. L'opera d'arte--una composizione, un romanzo, un dipinto, una scultura, un film--è il risultato di un atto intellettuale consapevole--dunque di un'idea--dove tuttavia entra in gioco l'azione concreta, (...) materiale del fare artistico, che inevitabilmente pervade e condiziona l'opera fin dal momento in cui essa inizia a prendere forma sul pentagramma, sulle righe, sulla tela, sulla pellicola. L'immagine iniziale o idea può mantenere inalterata la sua forza oppure trasformarsi nel corso del lavoro, ma il più delle volte serve soprattutto da stimolo, perché a poco a poco--come scrive Italo Calvino--la materia resta padrona del campo e offre il suo prezioso, indispensabile alimento all'immaginazione. È solo mentre si scrive o dipinge che la fantasia dona i suoi frutti, in astratto la materia è ancora troppo lontana per suggerire combinazioni, accostamenti, soluzioni, scoperte. Le testimonianze dei maggiori protagonisti delle arti del '900, qui ampiamente riportate, confermano nella sostanza la tesi del libro: anche il pittore più desideroso di trasmettere un messaggio e di contribuire attraverso la sua arte alla crescita civile della società, quando riflette sul proprio lavoro difficilmente può negare che l'opera sia il risultato talvolta inatteso di un percorso accidentato nel quale l'azione concreta, materiale del fare artistico entra in gioco giungendo in alcuni casi a modificare in modo radicale le intenzioni originali. L'arte--scrivono Fellini, Mirò, Calvino, Stravinsky e tanti altri--si fa facendola. Sul piano interpretativo ciò comporta un radicale ridimensionamento del ruolo messianico dell'artista, il quale spesso non ha alcuna intenzione o pretesa di comunicare qualcosa di fondamentale, è perso in questo mondo esattamente come tutti noi. 'Giornalisti curiosi e amatori di pittura'--scrive Picasso--vengono a vederci per trarre da noi verità dogmatiche o definizioni che potrebbero spiegare loro la nostra arte, mettendo in rilievo il suo valore pedagogico, valore che io nego categoricamente. Noi facciamo della pittura. Vorrebbero forse che, per aggiunta, noi fossimo fabbricanti di verità e di massime?'"--Back cover. (shrink)