O presente trabalho procurará apontar olhares sobre o corpo de Odisseu, herói e protagonista da segunda obra homérica, a partir da perspectiva do narrador e da personagem Nausícaa, a princesa dos Feaces. Assim, demonstrar-se-ão, ainda que sucintamente, as metamorfoses sofridas pelo corpo de Odisseu ao longo da obra homérica, as quais o fazem transitar entre o ‘proscrito e o príncipe’. Para tanto, buscar-se-á através da análise do Canto VI, o momento em que se dá o encontro de Odisseu e Nausícaa, (...) a qual toma-o como mendigo ou estrangeiro enviado por Zeus, devido ao estado daquele, isto é, nu e totalmente desprovido, o que contrasta com o tempo imediatamente posterior, no qual o herói, ao cuidar do corpo, torna-se digno, pela fala da própria Nausícaa, de tornar-se seu marido. (shrink)

O presente trabalho procurará apontar elementos no caráter de cada um dos heróis-guerreiros na Ilíada de Homero – Aquiles e Pátroclo – e analisar sucintamente como a hýbris do primeiro e a sofrosýne do último são utilizadas de modo significativo na epopeia, a fim de demonstrar a complementaridade entre os dois personagens e garantir o equilíbrio da narrativa naquilo que podemos denominar uma “antropologia homérica”. Ainda, buscará fazer alguns apontamentos sobre as características desta philía que transpassa elementos antagônicos e mostrar (...) o paradoxo em Aquiles – um herói em crise, o qual beira o anti-herói – e a emergência em Pátroclo – um herói necessário, sem o qual a continuidade narrativa da Ilíada não ocorreria. (shrink)

Today’s New APPS interview is with Alessandra Tanesini, Professor of Philosophy at Cardiff University. This is Part I; Part II will run next week. Thanks very much for doing this interview with us, Alessandra. Let’s start with your personal practice of philosophy. What are the pleasures and pains of philosophy...

We-thinking theories allow groups to deliberate as agents. They have been introduced into the economic domain for both theoretical and empirical reasons. Among the few scholars who have proposed formal approaches to illustrate how we-thinking arises, Bacharach offers one of the most developed theories from the game theoretic point of view. He presents a number of intuitions, not always mutually consistent and not fully developed. In this article, I propose a way to complete Bacharach’s theory, generalizing the interdependence hypothesis and (...) building on his intuition about vacillation. It is a simple model of vacillation between the I and we-modes of reasoning, as a way in which we-thinking can come to mind in the face of a decision problem. The vacillation model makes we-reasoning more easily usable in game theory. (shrink)

Alessandra Tanesini is a Professor of Philosophy at Cardiff University working on epistemology and philosophy of language. In this post she summarises some of her recent work on collective amnesia and epistemic injustice.

This book considers the semantic and syntactic nature of indexicals - linguistic expressions, as in I, you, this, that, yesterday, tomorrow , whose reference shifts from utterance to utterance.There is a long-standing controversy as to whether the semantic reference point is already present as syntactic material or whether it is introduced post-syntactically by semantic rules of interpretation. Alessandra Giorgi resolves this controversy through an empirically grounded exploration of temporal indexicality, arguing that the speaker's temporal location is specified in the (...) syntactic structure. She supports her analysis with theoretical and empirical arguments based on data from English, Italian, Chinese, and Romanian. Professor Giorgi addresses some difficult and longstanding issues in the analysis of temporal phenomena - including the Italian imperfect indicative, the properties of the so-called future-in-the-past, and the properties of Free Indirect Discourse - and shows that her framework can account elegantly for all of them. Carefully argued, succinct, and clearly written her book will appeal widely to semanticists in linguistics and philosophy from graduate level upwards and to linguists interested in the syntax-semantics interface. (shrink)

This article explores the affinities between film and philosophy by returning to a shared meditation on death and the nature of time. Death has been considered the muse of philosophy and can also be considered the muse of film-philosophy. But what does it mean to say that to film-philosophise is to learn to die, or a kind of training for dying? Film is an artistic object that reminds us of death’s inevitability; it is a meditation on the transient and finite (...) nature of time. Films as diverse as Mizoguchi’s Tales of Ugetsu, Resnais’s Hiroshima mon Amour, and Guzmán’s Nostalgia for the Light take an uncanny approach to the subject, expressing the paradoxical coexistence of life and death and of different temporal dimensions. This article explores the philosophical concept of the death-image and time through a Deleuzian approach to cinema, meditating on the flashback, the coexistence of the present and the past, and the emergence of a new type of Lazarean character – one who returns from the dead. The article aims to clarify not simply death’s unquestionable omnipresence in film but also cinema’s role as a contemporary version of the trope of memento mori. (shrink)

The Mismeasure of the Self is dedicated to vices that blight many lives. They are the vices of superiority, characteristic of those who feel entitled, superior and who have an inflated opinion of themselves, and those of inferiority, typical of those who are riddled with self-doubt and feel inferior. Arrogance, narcissism, haughtiness, and vanity are among the first group. Self-abasement, fatalism, servility, and timidity exemplify the second. This book shows these traits to be to vices of self-evaluation and describes their (...) pervasive harmful effects in some detail. Even though the influence of these traits extends to any aspect of life, the focus of this book is their damaging impact on the life of the intellect. Tanesini develops and defends a view of these vices that puts vicious motivations at their core. The analyses developed in this work build on empirical research in attitude psychology and on philosophical theories in virtue ethics and epistemology. The book concludes with a positive proposal for weakening vice and promoting virtue. (shrink)

Although meditating on death has long been a central philosophical practice and is gaining prominence in modern European public discourse, certain misconceptions still persist. The Austrian filmmaker Michael Haneke does not shy away from confronting real and performed images of death, combining a denouncing cinematic approach with no less polemic aesthetic and ethical theories. Certainly, visually shocking and disturbing films can, in their own way, challenge the boundaries of what is thinkable, at times even touching upon the unthinkable. Images of (...) death and death-related themes are particularly pervasive in Haneke’s films. His films raise significant philosophical and ethical questions about mortality, violence, death, and ageing. This analysis is a tentative attempt to map how Haneke explores representations of death and dying in Benny’s Video (1992) and Funny Games (1997), with particular reference to the rewind gesture depicted in both films. In doing so, it aims to examine the conversation such films prompt between moving images and the audience. (shrink)

Neste texto, procuro encontrar as origens de um dos mais importantes conceitos de Gilles Deleuze, o conceito de Imagem-tempo. Este conceito remete-nos para os primeiros textos de Deleuze dedicados à filosofia de Espinosa e ao problema do autómato espiritual e relaciona-se directamente com o problema da passividade/actividade do espectador. Ou seja, o conceito crucial na sua filosofia do cinema, a Imagem-tempo, esconde uma importante reflexão sobre a Imagem cinematográfica como arte de massas, os (im)poderes do pensamento e o modo fascista (...) de se pensar. This text seeks to find the origins of one of the most important of Gilles Deleuze's concepts, the concept of Time-image. This concept leads us to his first texts regarding Spinoza's philosophy and the problem of the spiritual automaton, and concerns directly with the problem of passivity/activity of the film goer. That is to say that the crucial concept of his film philosophy, Time-image, hides a fundamental consideration on the cinematic image as a mass art, the (un)powers of thinking and the fascist way of thought. (shrink)

Apresentamos a leitura deleuziana do papel e do poder da imaginação e do esquematismo no juízo estético segundo Immanuel Kant destacando, em particular, a importância de se pensar um desacordo entre faculdades e de, no limite, afirmarmos a impossibilidade de uma filosofia da arte. Como se dá o processo que liga sensações e conceitos, arte e filosofia? Ao respondermos a esta questão, também esclarecemos a situação peculiar de Kant na filosofia de Gilles Deleuze e a leitura que este faz em (...) A Filosofia Crítica de Kant, publicado em 1963. Teremos como objeto de análise um filme sensorial, To the Wonder/A Essência do Amor, realizado por Terrence Malick. (shrink)

O presente artigo tem dois objectivos: por um lado, o de analisar os conceitos de percepçáo e memória no cinema segundo a fenomenologia de Maurice Merleau-Ponty em “Le Cinéma et la Nouvelle Psychologie” e, por outro lado, o de analisar estes mesmos conceitos no filme de Christopher Nolan, Memento . A nossa principal referência será a fenomenologia da percepçáo em Merleau-Ponty de modo a melhor compreendermos o interesse fenomenológico do cinema e deste filme em particular.

Resumo Neste ensaio procuro analisar o movimento reversível que há entre cinema e filosofia no pensamento de Gilles Deleuze. A filosofia do cinema é um dos temas deleuzianos por excelência e Cinema 1 e Cinema 2, dois dos seus livros mais estudados. Porém, que papel teve o cinema no seu pensamento filosófico? Com o objectivo de analisar os diferentes tipos de interferências que ocorrem entre o campo estritamente filosófico e o campo não-filosófico, pretendo demonstrar de que modo o cinema não (...) foi apenas considerado como uma arte que ilustrava ideias filosóficas já elaboradas, mas como uma arte que contribuiu para a própria criação conceptual. Palavras-chave : filosofia do cinema, Gilles Deleuze, metafilosofia, noologiaMy aim with the present essay is to analyse the reversible movement that occurs in Gilles Deleuze’s thought between cinema and philosophy. Philosophy of cinema is one of the most stimulating aspects of the deleuzian thought and Cinema 1 and Cinema 2 two of his most studied books. However, which role had cinema in his philosophical thought? With the final objective of analysing the different kinds of interferences that occur between the specific philosophical field and the non-philosophical field, I want to clarify how cinema was not seen as a mere artistic illustration of some pre-existing ideas but as a philosophical contribution. Keywords : Gilles Deleuze, metaphilosophy, noology, philosophy of cinema. (shrink)

Adjectives can be gradable or non-gradable and this aspect of their meaning is responsible for their different distribution and also for their classification into two different classes of antonyms. Non-gradable antonyms are called contradictories: they are neither true nor false together and exclude any middle term; gradable antonyms are called contraries: they are not simultaneously true, but may be simultaneously false. While with contraries a negative disjunction (neque...neque) can define an intermediate level, with contradictories it simply means that either term (...) of the disjunction is excluded. There are however some Latin examples, such as neque vivus neque mortuus (`neither alive nor dead'), where the negation of a contradictory pair is used to convey a third, intermediate value. This third possibility is precisely what gives place to a paradox. Such an intermediate level can be defined also by terms like semivivus, semianimis (`half-dead'). Following Ducrot's theory on argumentation, such terms represent an argumentative attenuation, not with respect to life, rather with respect to death. With contradictories, in fact, the use of semi-, like the use of negation, gives the assertion of the opposite term as a result. (shrink)

Name der Zeitschrift: Kierkegaard Studies Yearbook Jahrgang: 20 Heft: 1 Seiten: 259-278.

[Interactive and Immersive Practices; Critical Spatial Practices. The Augmented Reality of the Exhibition Space] The rise of installations, as well as immersive and interactive spaces, in both art and science museums has accustomed the public to heightened interactivity, leading to a better understanding of social, natural and scientific phenomena. These spatial systems have also paved the way for the production of innovative environments within exhibition design. This article aims to present a brief overview of the origins of immersive and sensory (...) practices at work in contemporary museums, and to evaluate the potential of these processes to generate critical thinking in the visitor. A concise description of the evolution of the operational and intellectual premise of these museums and their changing practices demonstrates the transformations that have occurred, their modalities, and their application in selected works, notably: The Weather Project by Olafur Eliasson presented at Tate Modern London; Diller + Scofidio’s media pavilion, Blur Building, in Yverdon-les-Bains in Switzerland; and the exhibition Sense of the City at the Canadian Centre for Architecture in Montreal. (shrink)

Gli studi di Simha Arom sulla polifonia africana ha avuto un notevole impatto sulla cultura occidentale, in modo particolare con riferimento alla teoria ritmica della composizione. Scopo principale di questo studio è discutere la relazione fra la comparsa di termini antichi relativi alla teoria musicale e l’effettiva possibilità di descriverli in contesti musicali moderni.Gli studi di Simha Arom sulla polifonia africana ha avuto un notevole impatto sulla cultura occidentale, in modo particolare con riferimento alla teoria ritmica della composizione. Scopo principale (...) di questo studio è discutere la relazione fra la comparsa di termini antichi relativi alla teoria musicale e l’effettiva possibilità di descriverli in contesti musicali moderni.In che modo si possono usare concetti come talea, color, organum nella descrizione di strutture ritmiche concepite al di fuori della teoria canonica occidentale? Gli scritti di Arom mostrano come oggi sia ancora possibile individuare un nesso tra modelli africani di scansione ritmica e il concetto occidentale di dissonanza temporale: ma qual è il ruolo della percezione all’interno di questa descrizione? Simha Arom’s Studies in African Polyphony had a great impact in Western Culture, especially inside the Rhythmic Theory of Composition: the main aim of this work is a discussion about the relationships between the occurrences of ancient terms connected to music theory and the strength possibility of description in modern music contexts.How can we use concepts like Talea, Color, Organum in the description of rhythmical structures conceived outside the western canonical theory? The Arom’s writings show us that today is still possible to establish a link between African models of Rhythmical periods and the Western Concept of temporal dissonance: but what is the role of perception inside this description? (shrink)

This response raises two critical questions about Nico Stehr's article 'Knowledge, Markets and Biotechnology.' First, it examines his claim that in a 'knowledge society' consumers now base their decisions about purchases on more intangible criteria than a product's utility. We demonstrate that this is not unique to a 'knowledge society.' For more than a century Western consumers have been enmeshed in markets where advertisers aim to fashion consumer desires for products by employing strategies that appeal to anything but a product's (...) 'use value.' Second, we address Stehr's claim that in a market undergoing a process of 'moralization,' decisions about consumption occur in a context of epistemological uncertainty caused by proliferating and contradictory information. We propose that such a situation of radical uncertainty in decision-making is not unique to the marketplace, but reflects how most individuals must now relate to almost all scientific claims. The propagation of contested knowledges about any number of scientific truths - which are themselves largely unverifiable by laypeople - means that most individuals must rely on assorted social and cultural considerations when aligning themselves with any scientific knowledge. (shrink)

Supuestos y conceptos fundamentales del pensamiento juridico de san Agustin.--La idea del estado en san Agustin.

Describes the life and accomplishments of the scientist whom many scholars believe is both America's greatest philosopher and the father of American psychology.

In this paper I argue that social networking sites (SNSs) are emotion technologies that promote a highly charged emotional environment where intrinsic emotion regulation is significantly weakened, and people's emotions are more strongly modulated by other people and by the technology itself. I show that these features of social media promote a simplistic emotional outlook which is an obstacle to the development and maintenance of virtue. In addition, I focus on the mechanisms that promote group-based anger and thus give rise (...) to affective polarisation. In the final section, after a discussion of the positive value of some forms of anger, I argue that SNSs should not be designed to prohibit or suppress anger, but that its encouragement should also be avoided. I conclude with a suggestion about how this might be achieved. (shrink)

The Deleuzian studies on cinema highlight the importance of two semiotic regimes (movement-image and time-image) for the understanding of our aesthetical and epistemological relationship with moving images. On the contrary, this article highlights the moments of crisis between the two regimes, pointing out the generic character of uncertainty and ambiguity in the nature of mental images: once the sensorimotor scheme that dominates the cinematographic montage has been weakened, the characters, unable to act, can imagine, desire, dream, hallucinate, and remember. New (...) types of images appear: recollectionimages, dream-images, and world-images. How do these new types of images make us rethink our usual relationship with the world and with reality? With this article on cinema’s virtual and oneiric dimension, I expect to disseminate one of Gilles Deleuze’s greatest contributions to film philosophy: the distinction between the imaginary and reality. (shrink)

Introduction to Voragine’s Special Dossier “Death, from Painting to Film: Philosophical Conversations” -/- Vorágine’s ninth issue contains a special dossier on possible philosophical conversations between death and the arts, in particular regarding their transition from painting to photography and film. It includes four articles dedicated to exploring the ways in which death has been represented and imagined by the visual arts, prompting future film-philosophical conversations within aesthetic, cultural, and political studies.

Inspired by Farshad Zahedi’s audiovisual essay The Petrified Object and the Poetics of Time in Cinema, this article briefly presents three philosophical approaches to cinema’s ways of expressing time – as articulated by Bergson, Tarkovsky, and Deleuze – and questions how absolute time and chronological time are brought to a state of crisis by this modern form of art.

After more than three centuries, Molyneux's question continues to challenge our understanding of cognition and perceptual systems. Locke, the original recipient of the question, approached it as a theoretical exercise relevant to long-standing philosophical issues, such as nativism, the possibility of common sensibles, and the empiricism-rationalism debate. However, philosophers were quick to adopt the experimentalist's stance as soon as they became aware of recoveries from congenital blindness through ophtalmic surgery. Such recoveries were widely reported to support empiricist positions, suggesting that (...) the question had found its empirical answer. Contrary to this common view, we argue that studies of patients recovering from early blindness through surgery cannot provide an answer. In fact, because of the very nature of such ophtalmological interventions it is impossible to test the question in the empirical conditions outlined by Molyneux. Thus we propose that Molyneux's question be treated as an early thought experiment of a specific kind. Although thought experiments of this kind cannot be turned into actual experimental conditions, they provide a conceptual restructuring of theories. Such restructuring in turn leads to new predictions that can then be tested by normal experiments. In accord with this interpretation, we show that Molyneux's question can be analyzed into a hierarchy of specific questions about vision in its phenomenal and sensory-motor components. Some of these questions do lead to actual experimental conditions that could be studied empirically. (shrink)

RESUMO Neste ensaio analiso as diferentes modalidades de pensamento que ocorrem entre a filosofia e as imagens em movimento partindo da distinção metafilosófica elaborada por Gilles Deleuze entre “pensar” e “filosofar”. Esta é uma distinção fundamental para a possível elaboração de uma filosofia do cinema, ou, pelo menos, para afirmar que “o cinema filosofa”, uma tese atualmente imersa num certo equívoco. Neste sentido, como possível resolução para tal mal-entendido, sugiro uma adequada designação deleuziana de “pensar com conceitos” e “pensar com (...) imagens”, num processo recíproco fundamental entre o campo filosófico e o não filosófico das artes. Começando com uma introdução à noologia em Deleuze e uma descrição dessas ideias e do seu valor estético, prossigo com uma análise mais detalhada sobre imagens em movimento, metáforas e adaptação cinematográfica de modo a, dentro de uma abordagem pós-continental e pós-analítica, questionar se o cinema filosofa. ABSTRACT In this essay I analyse the different modalities of thought that occur between philosophy and moving images, beginning with Gilles Deleuze’s metaphilosophical distinction between “thinking” and “philosophizing”. This is an essential distinction for the possible elaboration of a film philosophy, or at least one which claims that “film philosophizes,” a thesis that is nowadays immerged in a certain misconstruction. In this sense, I suggest, as a conceivable resolution to this misunderstanding, a more proper Deleuzian designation of “thinking with concepts” and “thinking with images,” in a fundamental reciprocal process between the philosophical and non-philosophical fields of the arts. Starting with an introduction to Deleuze’s noology and a description of these ideas and their aesthetic value, I proceed with a closer analysis of moving images, metaphors, and film adaptation in order to question, within a post-continental-analytic approach, whether film philosophizes. (shrink)

We show unintended consequences of quota regulations to get women on boards. Board members may have different characteristics, and even among women, there are variations. We assume that the characteristics of the board members have an influence on their contributions to boards, to businesses as well as to society. In this paper, we argue that different types of societal pressure to get women on boards have an influence on the social capital characteristics of the women getting multiple board memberships. The (...) paper is drawing on institutional theory and social capital theory, and we distinguish between mimetic, normative, and coercive types of pressure. Through a cluster analysis of 58 Italian “golden skirts”, we show that different types of societal pressure may lead to differences in social capital characteristics. The study has implications for the ongoing international debate about women and diversity on boards, and we propose developing a pressure theory for getting women on boards. (shrink)

Fundamental questions in value sensitive design include whether and how high-tech products/artefacts could embody values and ethical ideals, and how plural and incommensurable values of ethical and social importance could be chosen rationally and objectively at a collective level. By using a humanitarian cargo drone study as a starting point, this paper tackles the challenges that VSD’s lack of commitment to a specific ethical theory generates in practical applications. Besides, it highlights how mainstream ethical approaches usually related to VSD are (...) incapable of solving main ethical dilemmas raised by technological design for well-being in democratic settings. Accordingly, it is argued that VSD’s ethical-democratic import would substantially be enhanced by the espousal of a procedural ethics stance and the deliberative approach to value and welfare entailed by Amartya Sen’s capability approach. Differently from rival ethical–political theories, its normative and meta-ethical foundations better handle human diversity, value-goal pluralism, conflicting vested interests as well as the epistemic-moral disagreements typical of contemporary complex democracies. Particularly, Sen’s capability approach procedural-deliberative tenets result in an “objective-impartial” choice procedure selecting a “hierarchy” of plural incommensurable values and rational goals thus, suitable to validate an applied science such as welfare-oriented technological design in concrete social environments. Conclusions suggest that refining VSD with a capability-based procedural approach to ethics fosters the concern for democracy and social justice while preserving vital scientific-technical standards. Major advantages are at an applied level to delivering ethically and socially justified, but yet highly functional technologies and high-tech products/artefacts. (shrink)

The COVID-19 virus is severely testing the Italian healthcare system, as the requests for intensive treatment are greater than the real capacity of the system to receive patients. Given this emergency situation, it follows that citizens are limited in their freedom of movement in order to limit infection, and that in hospitals a significant number of critical situations must be faced. This brief contribution aims to offer a reflection on the public and clinical role of the bioethicist: a figure able (...) to promote dialogue between the world of medicine and the community, and to face ethical dilemmas even in emergent clinical settings. (shrink)

In this new book, Alessandra Tanesini demonstrates that feminist thought has a lot to offer to the study of Wittgenstein's philosophical work, and that -at the same time-that work can inspire feminist reflection in new directions. In Wittgenstein, Tanesini offers a highly original interpretation of several themes in Wittgenstein's philosophy. She argues that when we look at his work through feminist eyes we discover that he is not primarily concerned with providing solutions to technical problems in the philosophy of (...) mind, mathematics, and language. Instead, his remarks on these topics are intended to offer insights about human finitude, the loneliness of the modern autonomous self, and our relations to other human beings. Thus, the modern conception of the individual emerges as the critical target of Wittgenstein's philosophical work, both early and late. This conception has also been one of the dominant concerns of contemporary feminist philosophy. In this book, Wittgenstein's insights are deployed to further feminist debates on issues such as identity, difference, the masculine character of the modern self. (shrink)

In this paper I provide an account of two forms of intellectual arrogance which cause the epistemic practices of conversational turn-taking and assertion to malfunction. I detail some of the ethical and epistemic harms generated by intellectual arrogance, and explain its role in fostering the intellectual vices of timidity and servility in other agents. Finally, I show that arrogance produces ignorance by silencing others (both preventing them from speaking and causing their assertions to misfire) and by fostering self-delusion in the (...) arrogant themselves. (shrink)

Intellectual humility, I argue in this paper, is a cluster of strong attitudes directed toward one's cognitive make-up and its components, together with the cognitive and affective states that constitute their contents or bases, which serve knowledge and value-expressive functions. In order to defend this new account of humility I first examine two simpler traits: intellectual self-acceptance of epistemic limitations and intellectual modesty about epistemic successes. The position defended here addresses the shortcomings of both ignorance and accuracy based accounts of (...) humility. (shrink)

What is Philosophy?, the third volume of the series of books that Gilles Deleuze and Félix Guattari wrote on “Capitalism and Schizophrenia”, presents us with a rather unusual idea, but one that is essential to understanding contemporary philosophical thought: the notion that philosophy is a concept-creating machine that must be connected to other machines, such as the arts and the sciences. Philosophy, science, and art are three distinct forms of reliable thinking. Given the heterogeneity of thinking, in what sense can (...) the three distinct forms of thinking answer the problem of creating concepts and using the machine as an allegory? This essay aims to analyse philosophy’s role in its relation to artistic and scientific practices by examining Dziga Vertov’s Man with a Moving Camera. It will focus on three guiding principles: creation is not exclusive to art and the sensible; philosophy mediates the relation between art and the sciences; and this mediation aims to keep their discord alive, not to solve it. (shrink)

Il senso comune tende a credere all’esistenza delle illusioni ottiche e percettive ma difficilmente sostiene la tesi di un ragionamento illusorio. Nel campo della psicologia del ragionamento si parla piuttosto di errori di ragionamento, che l’esperienza può correggere e modificare. Per questo nel tempo si è consolidata la credenza che esista una netta distinzione tra le une e le altre. Le prime sarebbero più forti, le seconde più deboli e con possibilità di correzione. In questo lavoro intendo dimostrare, attraverso la (...) presentazione e analisi di una topologia delle illusioni, che esiste, in realtà, una struttura universale sottostante a ogni tipo di illusione. Questa stessa struttura è quella che ci permette di parlare di un criterio universale per identificare le illusioni, una parte fondamentale del mondo esterno. (shrink)