142 found
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  1.  27
    A Taste for the Secret.Jacques Derrida & Maurizio Ferraris - 2001 - Polity.
    In this series of dialogues, Derrida discusses and elaborates on some of the central themes of his work, such as the problems of genesis, justice, authorship and death. Combining autobiographical reflection with philosophical enquiry, Derrida illuminates the ideas that have characterized his thought from its beginning to the present day. If there is one feature that links these contributions, it is the theme of singularity - the uniqueness of the individual, the resistance of existence to philosophy, the temporality of the (...)
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  2.  8
    Documentalità: perché è necessario lasciar tracce.Maurizio Ferraris - 2009 - Roma: Laterza.
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  3.  10
    Manifesto of new realism.Maurizio Ferraris - 2014 - Albany: SUNY Press, State University of New York Press. Edited by Sarah De Sanctis & Graham Harman.
    Realitism: the postmodern attack on reality -- Realism: things that have existed since the beginning of the world -- Reconstruction: why criticism starts from reality -- Emancipation: unexamined life has no value.
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  4.  16
    Introduction to new realism.Maurizio Ferraris - 2015 - New York: Bloomsbury Academic.
    Introduction to New Realism provides an overview of the movement of contemporary thought named New Realism, by its creator and most celebrated practitioner, Maurizio Ferraris. Sharing significant concerns and features with Speculative Realism and Object Oriented Ontology, New Realism can be said to be one of the most prescient philosophical positions today. Its desire to overcome the postmodern antirealism of Kantian origin, and to reassert the importance of truth and objectivity in the name of a new Enlightenment, has had an (...)
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  5.  22
    Ricostruire la decostruzione: cinque saggi a partire da Jacques Derrida.Maurizio Ferraris - 2010 - [Milan, Italy]: Bompiani.
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  6.  37
    Collective intentionality or documentality?Maurizio Ferraris - 2015 - Philosophy and Social Criticism 41 (4-5):423-433.
    In this article I defend two theses. The first is that the centrality of recording in the social world is manifested through the production of documents, a phenomenon which has been present since the earliest phases of society and which has undergone an exponential growth through the technological developments of the last decades. The second is that the centrality of documents leads to a view of normativity according to which human beings are primarily passive receptors of rules manifested through documents. (...)
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  7.  29
    Realism as emergentism.Maurizio Ferraris - 2018 - Journal of Critical Realism 17 (4):355-363.
    ABSTRACTIn this paper, I assume that, if knowledge does not refer to something other than itself, the words ‘subject’, ‘object’, ‘epistemology’, ‘ontology’, ‘knowledge’ and ‘reflection’ would be meaningless. I define the transcendental fallacy as involving faith in the existence of a spirit independent from matter, capable of producing representations and things. In terms of matter and memory, the fact that the past is repeated by matter is even more important than the fact that it is recalled by memory, because without (...)
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  8.  30
    Total Mobilization.Maurizio Ferraris - 2014 - The Monist 97 (2):200-221.
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  9.  80
    Documentality, or Europe.Maurizio Ferraris - 2009 - The Monist 92 (2):286-314.
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  10.  13
    Intelligence as a human life form.Maurizio Ferraris - 2024 - Journal of Responsible Technology 18 (C):100081.
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  11.  32
    Hysteresis.Maurizio Ferraris - 2020 - Critical Hermeneutics 4.
    Perhaps the most relevant aspect of the ongoing philosophical transformation is the splitting of binomial speculation-idealism. Indeed, one can be both realist and speculative. The paper aims to show it through a definition of negative, positive, and speculative Realism and emphasises the speculative concept of hysteresis, i.e. the survival of effects to their own causes. Indeed, it is the fundamental principle at the basis of what exists (ontology), what we do (technology), what we know (epistemology), and finally of teleology (that (...)
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  12.  9
    Money, Social Ontology and Law.Angela Condello & Maurizio Ferraris - 2019 - Routledge.
    Presenting legal and philosophical essays on money, this book explores the conditions according to which an object like a piece of paper, or an electronic signal, has come to be seen as having a value. Money plays a crucial role in the regulation of social relationships and their normative determination. It is thus integral to the very nature of the "social," and the question of how society is kept together by a network of agreements, conventions, exchanges, and codes. All of (...)
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  13.  8
    Storia dell'ermeneutica.Maurizio Ferraris - 1988 - Milano: Bompiani.
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  14.  15
    Where Are You?: An Ontology of the Cell Phone.Maurizio Ferraris - 2014 - Fordham University Press.
    An analysis of the history and social role of mobile phones today is followed by a proposal of a philosophical theory of objects, which is meant to be complementary to Searle's 'collective intentionality', that places writing at the basis of social reality.
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  15.  28
    Nuovo realismo FAQ: New Realism FAQ.Maurizio Ferraris - 2011 - Nóema 2:1-14.
    Il vero punto, nel confronto tra realisti e postmodernisti, non è ovviamente l’affermazione o negazione dell’esistenza del mondo esterno, ma il costruzionismo: quanto incidono gli schemi concettuali nella costruzione della realtà naturale e sociale? Infatti nessun realista negherebbe che l’IVA dipenda da schemi concettuali . Quello che il realista si chiede è, appunto, fin dove si spinge l’azione degli schemi concettuali, ed è qui che si manifesta il dissidio tra realisti e postmodernisti. Questi ultimi sono molto più generosi nella lista (...)
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  16.  20
    Storia dell'ontologia.Maurizio Ferraris (ed.) - 2008 - [Milan, Italy]: Bompiani.
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  17.  21
    Like giants immersed in time. Ontology, phenomenology, and Marcel Proust.Maurizio Ferraris & Enrico Terrone - 2019 - Rivista di Estetica 70:92-106.
    Marcel Proust’s In Search of Lost Time, raises an interesting philosophical issue, namely, how can one be in touch with past things if they no longer exist? It provides us with a way to address this issue by outlining an ontological view according to which past things still exist within a four-dimensional world. Although one cannot be in touch with past things by means of ordinary perception, one can do so by combining perception and memory. In this sense, In Search (...)
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  18.  41
    Pleurer et rire pour de vrai.Maurizio Ferraris - 2013 - Philosophiques 40 (1):23-44.
    Maurizio Ferraris | : L’une des réponses au paradoxe de la fiction consiste à dire que les émotions que nous éprouvons face aux oeuvres de fiction ne sont pas véritables. Mais qu’est-ce que pleurer ou rire pour de vrai ? En fait, presque toutes les formes de rire ou de larmes, et de réactions émotionnelles, sont compatibles avec la fiction, y compris celles qui sont des émotions vraies. Ce qui pose problème dans le paradoxe est la prémisse selon laquelle nos (...)
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  19.  2
    Estetica razionale.Maurizio Ferraris - 1997 - Milano: R. Cortina.
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  20.  6
    Goodbye, Kant!: cosa resta oggi della Critica della ragion pura.Maurizio Ferraris - 2004 - Milano: Tascabili Bompiani.
  21.  5
    From Capital to Documediality.Maurizio Ferraris - 2018 - In Alberto Romele & Enrico Terrone (eds.), Towards a Philosophy of Digital Media. Cham: Springer Verlag. pp. 31-50.
    Documediality indicates the allegiance between the constitutive power of documents and the mobilizing power of the media. The chapter proposes to treat documediality as the ending point of a great historical transformation whose previous phases have been capitalism and mediality. Capitalism in the strict sense corresponds to the economic era of production, and to the political era of liberalism. When populism prevails over liberalism, and communication has the upper hand over production, we enter the phase of mediality. Finally, documediality corresponds (...)
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  22. Filosofia globalizzata.Maurizio Ferraris - 2012 - Iride: Filosofia e Discussione Pubblica 25 (2):403-412.
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  23. Mente e mondo o scienza ed esperienza?Maurizio Ferraris - 1999 - Rivista di Estetica 39 (3).
     
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  24.  11
    Emergenza.Maurizio Ferraris - 2016 - Torino: Giulio Einaudi editore.
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  25. Che cosa c’è e che cos’è.Maurizio Ferraris & Achille C. Varzi - 2003 - Nous. Postille Su Pensieri 1:81–101.
    A philosophical exchange broadly inspired by the characters of Berkeley’s Three Dialogues. Hylas is the realist philosopher: the view he stands up for reflects a robust metaphysic that is reassuringly close to common sense, grounded on the twofold persuasion that the world comes structured into entities of various kinds and at various levels and that it is the task of philosophy, if not of science generally, to “bring to light” that structure. Philonous, by contrast, is the anti-realist philosopher (though not (...)
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  26.  6
    Documentality - Or Why Nothing Social Exists Beyond the Text.Maurizio Ferraris - 2007 - In Christian Kanzian (ed.), Cultures. Conflict - Analysis - Dialogue: Proceedings of the 29th International Ludwig Wittgenstein-Symposium in Kirchberg, Austria. Walter de Gruyter. pp. 385-402.
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  27.  14
    Ding an sich.Maurizio Ferraris - 2015 - In Andreas Speer, Wolfram Hogrebe & Markus Gabriel (eds.), Das Neue Bedürfnis Nach Metaphysik / the New Desire for Metaphysics. Boston: De Gruyter. pp. 119-132.
  28.  8
    Il gusto del segreto.Jacques Derrida & Maurizio Ferraris - 1997
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  29. Analogon Rationis.Maurizio Ferraris & Pietro Kobau - 1994 - Cuem.
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  30. Hylas e Philonous dieci anni dopo.Maurizio Ferraris & Achille C. Varzi - 2013 - SpazioFilosofico 8 (2):219–227.
    This is a sequel to our dialogue "Che cosa c'è e che cos'è (2003), focusing on the interplay between what there is and what there could be—between actuality and possibility—from the perspective of Hylas (here: the realist philosopher) and from the perspective of Philonous (here: the conventionalist anti-realist).
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  31.  60
    Documentality: A Theory of Social Reality.Maurizio Ferraris & Giuliano Torrengo - 2014 - Rivista di Estetica 57:11-27.
    In societies with a non-elementary degree of complexity, we find institutions, social roles, promises, marriages, corporations, enterprises, and the large variety of what we can label “social objects”. On the one hand, we commonly speak and think of such entities as if they existed on a par with entities such as tables and persons. On the other hand, there is a clear link between what people think and how people behave and the social domain. We argue that the widespread “reductionist” (...)
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  32.  24
    New Realism as Positive Realism.Maurizio Ferraris - 2014 - Meta: Research in Hermeneutics, Phenomenology, and Practical Philosophy:172-213.
    In this essay I try to give some overall statements in order to show that new realism is to be understood as a kind of positive philosophy. Against constructivism, I argue that there is a prevalence of the objects themselves on our understanding of them because reality offers a resistance to our attempt to grasp it depending on its level of dependence from our own understanding, which is different in the case of natural objects, ideal object and social object. This (...)
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  33.  12
    The Thrown Project: Architecture and War.Maurizio Ferraris - 2023 - Khōrein: Journal for Architecture and Philosophy 1 (2).
    This paper examines the concept of the project through a tragic but significant example, namely Albert Speer’s project. Speer, like any architect worthy of the name, does not drop his designs from some hyperuranium of creativity, nor does he confine them to a drawing board for the benefit not of the inhabitants, but of the readers; and even more, unlike a machine, he does not merely execute the prescriptions of an algorithm. It is, on the contrary, rooted in a soil. (...)
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  34.  5
    Cocktail di Searle.Maurizio Ferraris - 2006 - Rivista di Estetica 33 (33):205-209.
    In questa aula magna, davanti a me, cè un uomo che pesa 73 chili, cioè 113 libbre (per i postmoderni si tratta di due uomini diversi) e, contemporaneamente, uno dei vincitori del premio Mente e Cervello, e un grande filosofo contemporaneo. Questa possibilità non dipende dal fatto che l’aula, come dice il nome, è spaziosa. Searle ci ha insegnato che quando è solo in una stanza d’albergo c’è una sola persona fisica ma più oggetti sociali: un professore, un marito, il (...)
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  35. Percezione.Maurizio Ferraris - 2012 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 5.
    The essay concerns the notion of realism and its relationship with the notion of perception. The ontological meaning of aesthetics as aisthesis is in fact in the non-amendable nature of perception. From this non-amendability the essay outlines four traces through which aisthesis leads to realism: “nonconceptual content”, “object”, “naivety”, “ontology”.
     
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  36.  33
    The Dog Schema.Umberto Eco, Maurizio Ferraris & Diego Marconi - 2021 - Rivista di Estetica 76:10-39.
    The Dog Schema is the translation of the Italian text Lo schema del cane, originally published in Rivista di Estetica in 1998. The text presents the debate among the philosophers Umberto Eco, Maurizio Ferraris, and Diego Marconi concerning the dog schema. The debate develops through a reflection on Kantian schematism and conceptual applications, showing three different points of view on the subject.
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  37.  9
    From Fictionalism to Realism.Carola Barbero, Maurizio Ferraris & Alberto Voltolini (eds.) - 2013 - Newcastle upon Tyne, UK: Cambridge Scholars Press.
    In ontology, realism and anti-realism may be taken as opposite attitudes towards entities of different kinds, so that one may turn out to be a realist with respect to certain entities, and an anti-realist with respect to others. In this book, the editors focus on this controversy concerning social entities in general and fictional entities in particular, the latter often being considered nowadays as kinds of social entities. More specifically, fictionalists (those who maintain that we only make-believe that there are (...)
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  38.  21
    La bestia e il Sovrano di Jacques Derrida.Adriana Cavarero & Maurizio Ferraris - 2010 - Iride: Filosofia e Discussione Pubblica 23 (1):209-222.
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  39. on Jacques Derrida's The Beast and the Sovereign.Adriana Cavarero & Maurizio Ferraris - 2010 - Iris. European Journal of Philosophy and Public Debate 2 (4):491-506.
  40.  15
    L’ermeneutica giuridica come tecnica.Angela Condello & Maurizio Ferraris - 2018 - Rivista di Estetica 67:219-229.
    In this paper we argue that hermeneutics acquires additional relevance in the era of technology. In particular legal hermeneutics offers examples of how the use of specific instruments aimed at constituting legal objects (like the digital instruments used by notaries) demonstrate that legal professions will never be entirely delegated to machines. The capacity to use the instruments and the very functioning of those instruments can never be detached from comprehension, and from legal savoir.
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  41.  19
    Adieu, adieu, adieu. Remember me.Maurizio Ferraris - 2010 - Rivista di Estetica 45:135-137.
    Hamlet swears by his father that he will be revenged, and in this scene we have the characteristics of the social object oath: it is a word that is said and not simply thought of; it is a given word that cannot be withdrawn without braking the oath; it is a written word, which has a value insofar as is fixed in the memories; and it is a loyal word, since an oath presupposes faithfulness.
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  42.  3
    Art as Document.Maurizio Ferraris - 2012 - In Alessandro Arbo, Michel LeDu & Sabine Plaud (eds.), Wittgenstein and Aesthetics: Perspectives and Debates. De Gruyter. pp. 183-194.
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  43.  16
    Alive as You and Me.Maurizio Ferraris - 2021 - Rivista di Estetica 76:75-81.
    Laughing with the Dead «Only one boy was capable of laughing while Derossi was declaiming the funeral oration of the king, and Franti laughed.» We must be aware of this: our remembrance of Umberto Eco risks bringing back Franti, who laughed at the funeral of another Umberto, killed in Monza by Gaetano Bresci. Of course, it’s not exactly the same thing, because Franti was laughing at the dead man, or at least at the obsequies, and maybe at Derossi and his (...)
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  44.  34
    A brief history of new realism.Maurizio Ferraris - 2016 - Filozofija I Društvo 27 (3):591-609.
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  45.  21
    A Che punto è la notte. Dialogo sull'ontologia dell'arte.Maurizio Ferraris - 2003 - Rivista di Estetica 43 (23):48-54.
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  46.  8
    Agostino, fare la verità.Maurizio Ferraris - 2022 - Bologna: Il Mulino.
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  47.  40
    “A Psychic which is not the One of Psychology”.Maurizio Ferraris - 1999 - Chiasmi International 1:135-136.
  48.  1
    Badola e gavagai.Maurizio Ferraris - 2007 - Rivista di Estetica 34 (34):251-261.
    Diego «Ma la filosofìa del linguaggio si occupa del linguaggio della filosofia?» Fu questa la domanda, che ritenevo dannatamente sagace, che rivolsi a Diego un giorno del 1975 o 1976, io matricola lui giovane professore appena tornato dall’America. «Ma naturalmente», mi rispose Diego con un sorrisetto, e continuò a camminare per il corridoio in cui, ovviamente, io avrei voluto sprofondare. Poi andò avanti così per parecchio tempo, praticamente per tutta la vita. Forse per via di quel trauma o...
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  49.  7
    Cinema and ontology.Maurizio Ferraris - 2019 - [Milano]: Mimesis. Edited by Enrico Terrone.
    Cinema and the automatic sweetheart. The work of art as an automatic sweetheart. Automatic sweethearts without names: the place of films in the world of art -- Cinema and new realism. Realism and trasparency in film. What is new in realism? Cinema, philosophy and the rediscovery of reality -- Cinema and documediality. The movie theatre of Babel. Toward a new ontology of film. The digital secret of the moving image -- Cinema and the ontology of the cell phone. Double signature. (...)
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  50.  7
    Che cosa può la registrazione?Maurizio Ferraris - unknown
    Why is there something rather than nothing? Let’s try to sketch an answer: for a mixture of contingency and necessity. First there was an explosion, which made some highly-concentrated matter unfold and become the world: this was a contingent fact. However, in order for this contingency to emerge, transforming itself into the world, the explosion had to contain not only the ability to expand, but also the ability to record, to keep track. The principle of this emergence is very simple: (...)
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1 — 50 / 142