According to the philosophical posture for which every denial is a problem, I have decided, since it lacks here the space to justify such a posture, to propose a dialogue between three fictional characters.The first part of the dialogue relates to open and closed games. The value of closed answers (§1.1) is supreme (ultimate) because it resides in their undeniability meant as non-negativity. But the undeniability is conditioned, since it is such only insofar as one remains within a certain game. (...) This (§ 1.2) applies both to logical calculation and to empirical evidence, and therefore in general to science. The consequence (§ 1.3) is that philosophical questions, as open, are then unlimitedly open.The second part of the dialogue consists of a philosophical reading of the infosphere. It is possible (§ 2.1) to have an “apocalyptic” reading which, interpreting the infosphere as the final passage of technoscience, interprets it as the space in which even human mind is replaced by an artifice. Therefore (§ 2.2) the problem of “subjectivity” arises: what types of subjects are produced by the technique? And which types of new subjects are producing them?In conclusion (§ 2.3), the possibility of an alternative reading of the infosphere is announced; it is based on a thought capable of “opening up” even with respect to negation, which up to now seems to be the horizon that thought cannot overstep. (shrink)

1. Critica de capire e altri scritti. 2. Scritti kantiani. 3. L'analitica trascendentale. 4. Il problema della scienza e il giudizio storico.

In this paper I argue that 1) art is, for Cassirer, a symbolic language whereby images (or poetic expressions) work analogously to verbal signs in order to frame and codify meaningful objective contents, namely symbolic formations that constitute objects in a specific region of culture. I claim that 2a) both art and language rely on what I call symbolic-poietic mimesis: a function meant to 2b) combine imitative and constructive states in order to shape a proto-meaningful core according to its symbolic (...) pregnance and 3a) employ forms that are, on the one hand, pure (not derived from experience) and, on the other hand, sensuous (figurative signs). The idea is that while 4a) both language and art are oriented towards objectivity as the constitution of cultural objects, 4b) they also differ in their respective directions. On the one hand, language pursues stable and fixed verbal references. On the other, art relies on moving and living forms meant to codify a dynamic weft of aesthetic values. (shrink)

Luigi Giussani, a high school religion teacher throughout the 1950s and 1960s, grounded his teachings in the vast body of experience to be found in Christianity's two-thousand-year history. He told his students, “I'm not here to make you adopt the ideas I will give you as your own, but to teach you a method for judging the things I will say.” Throughout his life, education was one of Giussani's primary intellectual interests. He believed that effective education required an adequate (...) background in the Christian tradition, presented within a lived experience that underscored the capacity of the faith to answer universal questions. What he proposed was a process that allowed one to sift through tradition, critically examining it and comparing it against the ultimate criteria for judgment: the desires of the heart. In Giussani's view, the primary concern was to “educate the human heart as God made it.” In The Risk of Education he states that fear leads students to associate this process of criticism with negativity or doubt. Yet, without an education in criticism, students cannot develop conviction. At a time when young people are abandoning the church and questioning the value of faith, Giussani's method of judging and verifying Christianity as an experience seems a necessary intervention. In The Risk of Education he argues that, ultimately, education and the Christian message reveal themselves through human freedom. (shrink)

1. Teoria del diritto -- 2. Teoria della democrazia -- 3. La sintassi del diritto.

lNTRODUCTlON ln itself the world is neither governed by a principle of order, irremediably abandoned to disorder, structured with iron determinism, ...