Tras repasar el contexto filosófico en el que Nelson Goodman fragua su filosofía y del que es indudable heredero, el estudio se centra en su concepción simbólica de las obras de arte, más concretamente en su análisis de la representación pictórica, su relación con el realismo y los problemas que la apelación al concepto de semejanza generan en este campo.

Conceiving of fictional characters as types allows us to reconcile intuitions of sameness and difference about characters such as Batman that appear in different fictional worlds. Sameness occurs at the type level while difference occurs at the token level. Yet, the claim that fictional characters are types raises three main issues. Firstly, types seem to be eternal forms whereas fictional characters seem to be the outcome of a process of creation. Secondly, the tokens of a type are concrete particulars in (...) the actual world whereas the alleged tokens of a fictional character are concrete particulars in a fictional world. Thirdly, many fictional characters, unlike Batman, only appear in one work of fiction, and therefore one can wonder whether it does make sense to treat them as types. The main aim of this paper is to address these issues in order to defend a creationist account of fictional characters as types. (shrink)

In the debate on our engagement with and appreciation of fiction films, the thesis that the viewer of a fiction film imagines observing fictional events, and the thesis that these events are imagined to be presented by a narrator, are usually taken as two components of one theoretical package, which philosophers such as George Wilson and Jerrold Levison defend, while philosophers such as Gregory Currie and Berys Gaut reject. This paper argues that the two theses can be disentangled and investigates (...) their logical connection. The investigation shows that the second thesis entails the first but there is no entailment the other way around. Endorsing the first thesis is thus compatible with two options, namely endorsing the second thesis or abandoning it. However, the paper argues that if we endorse the first thesis, endorsing the second provides us with a more compelling explanation of our engagement with and appreciation of fiction films. (shrink)

This paper considers two issues raised by the claim that fictional characters are abstract artifacts. First, given that artifacts normally have functions, what is the function of a fictional character? Second, given that, in experiencing works of fictions, we usually treat fictional characters as concrete individuals, how can such a phenomenology fit with an ontology according to which fictional characters are abstract artifacts? I will indirectly address the second issue by directly addressing the first one. For this purpose, I will (...) rely on the notion of a mental file. I will argue that the function of fictional characters is the generation of mental files of a special kind. I will show that our experience of fictional characters as concrete individuals depends on the kind of mental files that are generated by fictional characters as abstract artifacts. I will conclude that an appreciator of a work of fiction can open two files about a certain fictional character; one about the character as an individual in the fictional world, and the other about the character as an abstract artifact in the actual world. In this sense, our relation to a fictional character is characterized by a duality of files or ‘twofileness’. (shrink)

International business organizations are regularly addressed on their corporate social responsibility (CSR). As illustrated in this paper, it is not yet clear exactly what CSR means to organizations and how to deal with it. In this paper, the authors explore how a sensemaking approach helps to understand the business challenges of CSR within an organizational context. The theories of Karl Weick are applied to the experiences of CSR in Royal Dutch Shell. The authors argue that the key to CSR in (...) international business organizations is to engage stakeholders and start a process of joint sensemaking. Three main competencies are crucial in this: the competency to engage stakeholders through listening and understanding; the creation of an organizational language so that CSR makes sense to members of the organization; and recognizing the momentum of taking action. (shrink)

This article addresses the definition of cinema by focusing on the related ontological question of which basic category circumscribes cinematic works. According to Noël Carroll, the definition of cinema consists both of ontological conditions that treat the moving image as a type and of other conditions that treat it as a display. But following Carroll’s ontological conditions, the digital encoding of a moving image enigmatically ends up being both a type and a token. Solving such a puzzle by clarifying the (...) relation between the cinematic type and the digital type leads us to define the moving image in general as a type that specifies a spatiotemporal distribution of pixels. (shrink)

I rely on Frascolla's interpretation of the Tractatus ontology to develop an account of depiction in which a picture is conceived of as a visual structure constituted by pixels that are conceived of, in their turn, as elementary propositions. Then I argue that such an account is complementary to the considerations about «noticing aspects» in the Philosophical Investigations, to the extent that the visual structure constituted by pixels provides a design allowing the picture’s viewer to notice aspects. Finally I argue (...) that a joint reading of the considerations about pictures in the Tractatus and in the Philosophical Investigations allows us to address some important issues in the contemporary philosophical debate about depiction. (shrink)

El artículo replantea, en confrontación con Reinhart Koselleck, la relación entre tiempos de crisis y esferas públicas, así como la «dialéctica», ahí implicada, entre «secreto» y «publicidad». Desde este marco interpreto la crisis contemporánea de modelos de comunicación y participación políticas, en parte por el impacto de las TIC, con referencia a fenómenos sociopolíticos recientes en España, como el movimiento 15M o el nuevo partido Podemos. La crítica genera o agudiza las crisis y éstas se expresan en aquella. El ideal (...) de la esfera pública se reconfigura con cada crisis, para confrontar a sociedad y política con el nivel de crisis su tiempo. Frente a Koselleck, reitero la exigencia normativa de esferas públicas como espacios críticos, ámbitos sociales, intermedios entre política y mundo de la vida. (shrink)

El propósito del presente trabajo consiste en poner en valor un modelo de innovación abierto y responsable para el desarrollo tecnológico. Este modelo permite poner en tela de juicio la cultura científica que entiende el proceso de generación de conocimiento en términos de monopolios y oligopolios, privilegiando en enfoque de arriba hacia abajo. Este enfoque presenta un déficit comunicativo entre los expertos tecnólogos y los demás grupos de interés y afectados por la tecnología. En ese sentido, es importante promover una (...) investigación e innovación responsables, estableciendo de ese modo un hilo comunicativo entre lo deseable y lo aceptable. Además, las tecnologías despliegan su actividad en contextos morales y por lo tanto presentan una dimensión política y social que exige llevar a cabo una evaluación ética. Este artículo es el resultado de una investigación bibliográfica. (shrink)

Abstract[I] want to single out one phenomenon that could be called the ‘politics of sources’. It points to the extent to which the histories that both scientists and historians can write are artifacts of the available sources. The Rockefeller Foundation not only opened its archives very early on for historical work but also invested a lot in making the archives readily available for historical exploration. During the 1980s, many young historians took advantage of this opportunity. Thus, in a relatively early (...) phase of the professional historiography of molecular biology, one could have gained the impression that the development of the new biology as a whole was a bio‐politically directed enterprise of the Rockefeller Foundation sustained by the vision that social processes could ultimately be controlled by biological processes. (shrink)

Works of art are usually meant to elicit psychological effects from their audiences whereas paradigmatic technical artifacts such as hammers or cars are rather meant to produce physical effects when used. This suggests that works of art and technical artifacts are sharply different entities. However, recent developments in the cognitive sciences and the philosophy of technology have individuated special artifacts, namely cognitive and affective artifacts, which also generate psychological effects. In particular, affective artifacts, which have the capacity to alter the (...) affective condition of agents, seem to share crucial features with works of art. Can we subsume works of art under that kind? I will argue that we cannot. Still, comparing art with affective artifacts will help us to clarify the relationship between art and technology, and to introduce a new category, namely the experiential artifact, which can properly encompass works of art. (shrink)

In a recent article, Wilkinson puts forward the notion of identity-relative paternalism. According to Wilkinson’s final formulation of this principle, ‘[i]ndividuals should be prevented from doing to future selves (where there are weakened prudential unity relations between the current and future self) what it would be justified to prevent them from doing to others’.1 In medical ethics, it is usually assumed that hard paternalism, that is, acting against a competent person’s wishes for their own benefit, is not justified. According to (...) Mill’s harm principle, we may only limit people’s freedom if they cause harm to others.2 Harm to self is not a sufficient reason for overriding competent persons’ decisions. Wilkinson, however, draws on Parfit’s reductionist view of personal identity to argue that sometimes, patients’ future selves are sufficiently disconnected from their present selves to treat future selves like different persons. If a competent person’s medical decision negatively affects a future self, this should be treated like a case of harm to others. Thus, overriding competent persons’ decisions in such cases—and treating them against their will—could be justified. In this commentary, I point out two problems with this approach. First, I demonstrate that the cases Wilkinson’s argument is based on are not examples of harm to others but rather cases of surrogate decision making gone wrong, …. (shrink)

Nelson Goodman notoriously distinguished between autographic works, whose instances should be identified by taking history of production into account, and allographic works, whose instances can be identified independently of history of production. Scholars such as Jerrold Levinson, Flint Schier, and Gregory Currie have criticized Goodman’s autographic/allographic distinction arguing that all works are such that their instances should be identified by taking history of production into account. I will address this objection by exploiting David Davies’ distinction between e-instances and p-instances of (...) a work, thereby restating the autographic/allographic distinction. Then, I will show that this way of restating this distinction leads us to effective accounts of relevant related phenomena such as forgery, plagiarism, and digital technologies. Finally, I will show the theoretical advantages of my account of the autographic/allographic distinction in comparison with an alternative account recently proposed by Jason D’Cruz and P.D. Magnus. (shrink)

The overall goal of this target article is to demonstrate a mechanism for an embodied cognition. The particular vehicle is a much-studied, but still widely debated phenomenon seen in 7–12 month-old-infants. In Piaget's classic “A-not-B error,” infants who have successfully uncovered a toy at location “A” continue to reach to that location even after they watch the toy hidden in a nearby location “B.” Here, we question the traditional explanations of the error as an indicator of infants' concepts of objects (...) or other static mental structures. Instead, we demonstrate that the A-not-B error and its previously puzzling contextual variations can be understood by the coupled dynamics of the ordinary processes of goal-directed actions: looking, planning, reaching, and remembering. We offer a formal dynamic theory and model based on cognitive embodiment that both simulates the known A-not-B effects and offers novel predictions that match new experimental results. The demonstration supports an embodied view by casting the mental events involved in perception, planning, deciding, and remembering in the same analogic dynamic language as that used to describe bodily movement, so that they may be continuously meshed. We maintain that this mesh is a pre-eminently cognitive act of “knowing” not only in infancy but also in everyday activities throughout the life span. Key Words: cognitive development; dynamical systems theory; embodied cognition; infant development; motor control; motor planning; perception and action. (shrink)

Despite numerous publications on the philosophy of technology, little attention has been paid to the relationship between being and value in technology, two aspects which are usually treated separately. This volume addresses this issue by drawing connections between the ontology of technology on the one hand and technology's ethical and aesthetic significance on the other. The book first considers what technology is and what kind of entities it produces. Then it examines the moral implications of technology. Finally, it explores the (...) connections between technology and the arts. Enrico Terrone is Associate Professor at the University of Genoa, Italy. He works on philosophical issues concerning aesthetics, ontology and technology. His main area of research is philosophy of film. His most recent previous book (co-authored with Luca Bandirali) is Concept TV: An Aesthetics of Television Series (2021). Vera Tripodi is Assistant Professor at the University of Milan, Italy. She specializes in feminist philosophy and ethics, bioethics, ethics of technology, and social ontology. She is a Founding Member and Vice President of the SWIP ITALIA (The Society for Women in Philosophy - Italy). (shrink)

According to the standard view of pictorial reference, a picture produces singular thought in virtue of both its appearance and its history. Zeimbekis (2010) challenges this view, arguing that the perception of the picture's appearance does not contribute to the production of singular thought. The paper defends the standard view from Zeimbekis' challenge, specifying the roles of appearance and history in pictorial reference. While knowledge about the picture's history allows one to identify the standpoint from which to see the scene (...) depicted, the perception of the picture's appearance exploits that standpoint to single out individuals in that scene. (shrink)

Regardless of whether one agrees or disagrees with Stacie Friend’s claim that fiction is a genre, her notion of genre can be fruitfully applied to a paradigmatic genre such as science fiction. This article deploys Friend’s notion of genre in order to improve the influential characterization of science fiction proposed by Darko Suvin and to defend it from a criticism recently raised by Simon Evnine. According to Suvin, a work of science fiction must concern “a fictional ‘novum’ validated by cognitive (...) logic.” While Suvin conceives of his characterization as a necessary and sufficient condition for membership in the genre, I propose to cast the notions of “fictional novum” and “cognitive validation” as standard features of the genre, which works of science fiction should have but might lack. I argue that this amended version of Suvin’s characterization can better account for two basic properties of science fiction as a genre, namely its historicity and its relevance to appreciation. Lastly, I show that the amended version can shed some light on the affinity between works of science fiction and philosophical thought experiments. (shrink)

Reasoning about bedrock abstract concepts such as time, number, and valence relies on spatial metaphor and often on multiple spatial metaphors for a single concept. Previous research has documented, for instance, both future-in-front and future-to-right metaphors for time in English speakers. It is often assumed that these metaphors, which appear to have distinct experiential bases, remain distinct in online temporal reasoning. In two studies we demonstrate that, contra this assumption, people systematically combine these metaphors. Evidence for this combination was found (...) in both directly elicited and spontaneous co-speech gestures about time. These results provide first support for the hypothesis that the metaphorical representation of time, and perhaps other abstract domains as well, involves the continuous co-activation of multiple metaphors rather than the selection of only one. (shrink)

Se dovessi scegliere un unico libro di Maurizio Ferraris da portarmi sulla proverbiale isola deserta sceglierei Una ikea di università. Lo farei per tre ragioni differenti. La prima è autobiografica: è il libro per merito – o per colpa – del quale ho finito per occuparmi di filosofia. La seconda è estetica: c’è in questo libro una felicità di scrittura che è raro trovare non solo in filosofia ma anche in letteratura; forse mi lascio condizionare da fattori idiosincratici, ma per (...) me Una ikea è uno dei testi italiani più belli degli ultimi vent’anni. Infine c’è una terza ragione che è propriamente filosofica. Per come vedo io le cose, è in Una ikea che si compie la svolta decisiva nel percorso filosofico di Ferraris; è in questo libro – a partire dalla riflessione su natura e funzione di un peculiare oggetto sociale, l’università – che si gettano le basi delle dottrine a venire: la documentalità e il nuovo realismo. Nel mio saggio mi propongo dunque di rileggere Una ikea con il senno di poi, mostrando che i principi fondamentali della documentalità e del nuovo realismo erano già all’opera, in forma di vivide intuizioni, ben prima che queste teorie ricevessero un nome proprio e una trattazione sistematica. In particolare, è in Una ikea che Ferraris mette a punto il principio critico-metodico che da lì in poi guiderà l’intera sua ricerca: «Uno potrebbe opporre che qui si ha a che fare con una classica confusione tra ontologia e qualcosa che non è ontologia (e può essere tante altre cose: ermeneutica, filosofia della storia, psicologia delle visioni del mondo, storia delle mentalità, teoria della scienza, o al limite animismo, come ai tempi dei druidi). Come a dire che si confonde il fatto – del tutto indipendente dall’iniziativa umana – per cui c’è qualcosa, con il fatto che si possa descrivere quel qualcosa in tanti modi, e che in questa descrizione siamo relativamente liberi» (Una ikea di università: 42). (shrink)

The main aim of this paper is to characterize Maurizio Ferraris’ New Realism as a metaphilosophical account that develops Peter Strawson’s project of a descriptive metaphysics. The paper consists of two sections. The former outlines Strawson’s descriptive metaphysics by highlighting its realist commitments. The latter characterizes New Realism as a way of turning Strawson’s metaphysics into a metaphilosophy. New Realism moves from Strawson’s metaphysical description of the world we share through our experience to the metaphilosophical claim that philosophy should primarily (...) consist in this kind of description. (shrink)

This paper develops Richard Wollheim’s claim that the proper appreciation of a picture involves not only enjoying a seeing-in experience but also abiding by a standard of correctness. While scholars have so far focused on what fixes the standard, thereby discussing the alternative between intentions and causal mechanisms, the paper focuses on what the standard does, that is, establishing which kinds, individuals, features and standpoints are relevant to the understanding of pictures. It is argued that, while standards concerning kinds, individuals (...) and features can be relevant also to ordinary perception, standards concerning standpoints are specific to pictorial experience. Drawing on all this, the paper proposes an ontology of depiction according to which a picture is constituted by both its visual appearance and its standard of correctness. (shrink)

El texto propone una confrontación entre la fenomenología de la vita activa de Hannah Arendt y la ética del cuidado. Se trata, por una parte, de aplicar las distinciones arendtianas entre esferas pública y privada, y entre labor, trabajo y acción , a la actividad de cuidar, para reafirmar su relevancia; por otra parte, tomando el concepto de «mundo» como clave de la definición de cuidado, se ensaya una reinterpretación crítica de los conceptos de Arendt a partir de algunos análisis (...) feministas y de una fenomenología responsiva y del cuerpo, a fin de plantear una reivindicación matizada de las implicaciones públicas del cuidar, en línea con las propuestas de paso de una ética a una «política del cuidado». (shrink)

Rebbetzin Esther Greenberg was famous throughout Israel as a mentor to countless women, including some of the best-known teachers and counselors.

Background: Ethics-of-care theories contain important notions regarding the quality of care; however, until now, concrete translations of the insights into instruments are lacking. This may be a result of the completely different type of epistemology, theories and concepts used in the field of quality of care research. Objectives: Both the fields of ‘ethics of care’ and ‘quality of care’ aim for improvement of care; therefore; insights could possibly meet by focusing on the following question: How could ethics-of-care theories contribute to (...) better quality in care at a measurement level? This study reviews existing instruments with the aim of bridging this gap and examines the evidence of their psychometric properties, feasibility and responsiveness. Research design: A systematic search of the literature was undertaken using multiple electronic databases covering January 1990 through May 2012. Method and findings: Of the 3427 unique references identified, 55 studies describing 40 instruments were selected. Using a conceptual framework, an attempt was made to distinguish between related concepts and to group available instruments measuring different types of concepts. A total of 13 instruments that reflect essential aspects of ethics-of-care theory were studied in greater detail, and a quality assessment was conducted. Conclusion: Three promising qualitative instruments were found, which follow the logic of the patient and take their specific context into account. (shrink)

Both perception and imagination seem to play a crucial role in our engagement with fiction films but whether they really do so, and which role they possibly play, is controversial. On the one hand, a fiction film, as film, is a depiction that invites us to perceive the events portrayed. On the other hand, as fiction, it invites us to imagine the story told. Thus, after watching the film Alien, one might say that one saw Ripley fighting the monster but (...) one might also say that one imagined Ripley fighting the monster. Are these two reports compatible? If they are, how can we combine them so to make sense of them? If, instead, they are not, which of them should we give up? (shrink)

This paper enquires into the politics of real-time in online media. It suggests that real-time cannot be accounted for as a universal temporal frame in which events happen, but explores the making of real-time from a device perspective focusing on the temporalities of platforms. Based on an empirical study exploring the pace at which various online media produce new content, we trace the different rhythms, patterns or tempos created by the interplay of devices, users’ web activities and issues. What emerges (...) are distinct forms of ‘realtimeness’ which are not external from but specific to devices, organized through socio-technical arrangements and practices of use. Realtimeness thus unflattens more general accounts of the real-time web and research, and draws attention to the agencies built into specific platform temporalities and the political economies of making real-time. (shrink)