The aim of this paper is to analyse the concepts used by Gilles Deleuze and Félix Guattari in their elaboration of the notions of plane of immanence and processes of subjectification, which are connected through a complex interrelationship. More specifically, the essay proposes to cross the concept of ‘diagram’, which Deleuze inherited from the thought of Michel Foucault, with the concept of a life, singular and impersonal. To this end, an argument is made for a concept that can be called (...) the virtual body, where this is understood as something other than a biological or social body, even if this difference remains inscribed within them. Since by virtual body what is intended is not something that someone is – which means it isn’t a essence – but something that someone ‘owns’, it can also be used to think the subject outside the limits of ontology. (shrink)

The field of AI safety aims to prevent increasingly capable artificially intelligent systems from causing humans harm. Research on moral alignment is widely thought to offer a promising safety strategy: if we can equip AI systems with appropriate ethical rules, according to this line of thought, they'll be unlikely to disempower, destroy or otherwise seriously harm us. Deontological morality looks like a particularly attractive candidate for an alignment target, given its popularity, relative technical tractability and commitment to harm-avoidance principles. I (...) argue that the connection between moral alignment and safe behavior is more tenuous than many have hoped. In general, AI systems can possess either of these properties in the absence of the other, and we should favor safety when the two conflict. In particular, advanced AI systems governed by standard versions of deontology need not be especially safe. (shrink)

Mathematicians often describe the importance of well-developed intuition to productive research and successful learning. But neither education researchers nor philosophers interested in epistemic dimensions of mathematical practice have yet given the topic the sustained attention it deserves. The trouble is partly that intuition in the relevant sense lacks a usefully clear characterization, so we begin by offering one: mature intuition, we say, is the capacity for fast, fluent, reliable and insightful inference with respect to some subject matter. We illustrate the (...) role of mature intuition in mathematical practice with an assortment of examples, including data from a sequence of clinical interviews in which a student improves upon initially misleading covariational intuitions. Finally, we show how the study of intuition can yield insights for philosophers and education theorists. First, it contributes to a longstanding debate in epistemology by undermining epistemicism, the view that an agent’s degree of objectual understanding is determined exclusively by their knowledge, beliefs and credences. We argue on the contrary that intuition can contribute directly and independently to understanding. Second, we identify potential pedagogical avenues towards the development of mature intuition, highlighting strategies including adding imagery, developing associations, establishing confidence and generalizing concepts. (shrink)

PA is Peano arithmetic. The formula $\operatorname{Interp}_\mathrm{PA}(\alpha, \beta)$ is a formalization of the assertion that the theory PA + α interprets the theory PA + β (the variables α and β are intended to range over codes of sentences of PA). We extend Solovay's modal analysis of the formalized provability predicate of PA, Pr PA (x), to the case of the formalized interpretability relation $\operatorname{Interp}_\mathrm{PA}(x, y)$ . The relevant modal logic, in addition to the usual provability operator `□', has a (...) binary operator ` $\triangleright$ ' to be interpreted as the formalized interpretability relation. We give an axiomatization and a decision procedure for the class of those modal formulas that express valid interpretability principles (for every assignment of the atomic modal formulas to sentences of PA). Our results continue to hold if we replace the base theory PA with Zermelo-Fraenkel set theory, but not with Gödel-Bernays set theory. This sensitivity to the base theory shows that the language is quite expressive. Our proof uses in an essential way earlier work done by A. Visser, D. de Jongh, and F. Veltman on this problem. (shrink)

Iglesias et al. (2025) argue that “some of the aims or ostensible goods of person-span expansion could plausibly be fulfilled in part by creating a digital doppelgänger”—that is, an AI system desig...

The aim of this work is to identify and analyze a set of challenges that are likely to be encountered when one embarks on fieldwork in linguistic communities that feature small, young, and/or non-standard languages with a goal to elicit big sets of rich data. For each challenge, we (i) explain its nature and implications, (ii) offer one or more examples of how it is manifested in actual linguistic communities, and (iii) where possible, offer recommendations for addressing it effectively. Our (...) list of challenges involves static characteristics (e.g., absence of orthographic conventions and how it affects data collection), dynamic processes (e.g., speed of language change in small languages and how it affects longitudinal collection of big amounts of data), and interactive relations between non-dynamic features that are nevertheless subject to potentially rapid change (e.g., absence of standardized assessment tools or estimates for psycholinguistic variables). The identified challenges represent the domains of data collection and handling, participant recruitment, and experimental design. Among other issues, we discuss population limits and degree of power, inter- and intraspeaker variation, absence of metalanguage and its implications for the process of eliciting acceptability judgments, and challenges that arise from absence of local funding, conflicting regulations in relation to privacy issues, and exporting large samples of data across countries. Finally, the ten experimental challenges presented cover a broad typological spectrum, encompassing both spoken and sign, extant and nearly extinct languages. (shrink)

Abstract -/- In this paper, I shall deal with quasi-(proper) names, that is expressions like ‘Mum’, ‘Dad’, ‘Grandpa’, ‘Grandma’ in English or ‘Papà’, ‘Mamma’, ‘Nonna’, ‘Nonno’ in Italian. I shall use examples both from English and Italian. Quasi-names are directly referential like proper names, even if they apparently exhibit some conceptual materials, which, however, are not active and are inert. They can be used as vocatives or as arguments of verbs. I called terms like ‘Mum’, ‘Dad’ ‘quasi-names’ because they have (...) certain characteristics of names (but they could also be called ‘indexical names’). They confer significance to an individual. Quasi-names are indexical, although the word ‘I’ does not appear in the proposition expressed. (shrink)

In this paper, I develop a pragmatic view of the poetic function of language by resorting to the ideas of contextualism, inferential pragmatics, and pragmemes (Mey, 2001, Capone, 2005), developing considerations on the poetic function of language on the basis of considerations by Jakobson (1960) and Waugh (1980). I argue that pragmatics plays an important role in elucidating the poetic function of language and that even in everyday language (not only in anthologies) we find cases of texts where the poetic (...) function coexists with (or aids) other functions. Contextualism allows us to interpret a poem: referents must be fixed or need not be fixed due to the requirements of the discourse; citations are brought in through pragmatic ways; polyphony is achieved via sedimentation of citations in a current text; the vicinity of a certain word, or concept, or line is likely to affect the interpretation of a certain expression. Polyphony is what allows the text to live on in a dimension that transcends the limits of the subjective experience of the poet but allows the text to be inserted in a tradition in which each verse reverberates with memories of other verses. The poetic text can take different forms, from graffiti to discourse at the market-place, to discourse between lovers. All these forms of poetic text would not exist if the notion of poetry did not include the idea of semantic/pragmatic compression which is matched, in interpretation, by expansions. In this paper, I also try to tackle the issue of the universal appeal of some poems, even if I am aware that this topic is as mysterious as fascinating. Paradoxically, a contextual approach to poetry seems to be at odds with the claim that the most acclaimed examples of poems have a universal appeal and touch a universal chord in the readers’ hearts. What is genuinely puzzling is the contrast between the need to fully contextualize a text and the fact that such a text can have a universal appeal across cultures. (shrink)

Quasi-proper names and quasi-quasi proper names.

Let M be an o-minimal expansion of an ordered field. Let φ be a formula in the language of ordered domains. In this note we establish some topological properties which are transferred from $\varphi^M$ to $\varphi^R$ and vice versa. Then, we apply these transfer results to give a new proof of a result of M. Edmundo-based on the work of A. Strzebonski-showing the existence of torsion points in any definably compact group defined in an o-minimal expansion of an ordered field.

The expressive nature of musical improvisation is dissected, navigatingbetween two predominant theses: The Transparency Thesis (1) which proposes thatexpressiveness in improvisation transparently reflects the musician’s subjectiveaffectivity, and the Objective-Generic Expressiveness Thesis (2) asserting that ithinges only on the musicpractice’s objective components. This article challenges boththeses, arguing against (1) by emphasizing that musical expressivity transcends a merenatural outburst, and counteracting (2) by highlighting that it is not merely anenactment of objective expressive topoi. Introducing a novel perspective through theconceptual pair of (social) (...) Habitusand (individual) habit, a third stance is defended:the specific expressiveness in improvised music is significantly impacted by itsimprovisational quality, whereby the expressiveness emerges from the manipulationand transformation of an expressive Habitus within the musical performance’scontingent situation. (shrink)

In this essay I am going to attempt to resuscitate the logical problem of evil. Since the problem is well known I will be brief in motivating it. It is widely held within the field of philosophy of religion that the problem of evil in its logical form is a dead end. That is, it is accepted that there is no logical incoherence in supposing that a perfectly loving and all-powerful god exists alongside the existence of evil. One of the (...) accepted arguments for the dissolvement of this issue is Alvin Plantinga’s Free Will Defence. I believe that Plantinga’s defence is not the successful argument that scholars in the field have taken it to be. I attempt a demonstration of an inner conflict in Plantinga’s argument that thoroughly undermines the strength of his argument. I show that Plantinga’s argument attempts to smuggle in the possibility of middle knowledge through his concept of transworld depravity. The conclusion of my argument is that Plantinga’s status as solving the logical problem is not warranted and it should be given serious attention. (shrink)

El tema del presente texto es la cuestión del estatuto ontológico del arte y del papel que, con respecto a tal estatuto, juega la relación entre arte y poder político. Para ello voy a traer a colación las obras de dos autores clásicos en este tema: Las cartas sobre la educación estética de la humanidad (1795) de J. C. F. Schiller, y el H. Marcuse de los escritos sobre la dimensión estética, en particular de los ensayos titulados La dimensión estética (...) (1978), Ensayo sobre la liberación (1969) y Arte y revolución, que es un capítulo del libro Contrarrevolución y revuelta (1972). Se trata de textos muy vinculados a las épocas en las cuales fueron escritos, los años sucesivos a la Revolución francesa en el caso de Schiller, y, por lo que concierne a Marcuse, los años de los movimientos libertarios juveniles de protesta, es decir, los años sesenta y setenta del siglo pasado. En ellos, sin embargo, y como en todo buen clásico, aparecen temas y argumentaciones que todavía hoy constituyen una buena herramienta para discutir filosóficamente la relación entre arte, estética y política. (shrink)

The contemporary debate in philosophy of music about the ontological status of musical works seems sometimes to have little to do with actual musical practices and experiences. As Lydia Goehr observed (1992) the danger is here very high that the competing theories remain unrelated to the actual practices they should explain. It is difficult to understand why elaborating complex conceptual systems for answering the ontological question “What is a musical work?” is worthwhile, if, aside from discrepancies between scores, which may (...) be often rectified through philological examination, the identification of a certain performance as performance of a certain work is normally not problematic in the central case. Better and more interesting is to search for aesthetic reasons that can explain why, to which degree, regarding which aspects (and so on), a certain performance is good, bad, exciting, innovative, moving, insipid and so on, and to be preferred to other performances of the same work. (shrink)

A fine Settecento, quando l’ingresso della musica nel «sistema delle arti» era un evento ancora recente, il fondatore della Allgemeine Musikalische Zeitung, Friedrich Rochlitz, individuava il motivo della maggiore discrepanza nei giudizi in materia musica le rispetto alle altre arti nel fatto che essa sarebbe priva di punti di riferimento visibili. «La musica», egli affermava, «nulla ha divisibile (Sichtbares) cui si possano confrontare le sue opere, o da cui possa scaturire una qualche concordanza nelle valutazioni». Mentre per esempio possiamo valutare (...) la differenza di valore tra due raffigurazioni di una rosa perché abbiamo visto la rosa reale, nella musica, argomentava Rochlitz, dobbiamo affidarci alla nostra sensibilità introspettiva, il che rende il compito del giudizio assai difficile. Non intendo qui commentare questo argomento. Piuttosto mi interessa mettere in discussione l’idea che la musica non abbia a che fare con la dimensione del visibile. Anche dando per scontata l’idea che la musica sia un’arte, o un campo di pratiche, legato in modo fondamentale ai suoni e all’ascolto, non è inutile interrogarsi sul contributo della dimensione visiva all’esperienza musicale. Questo articolo presenterà quindi alcune considerazioni circa gli aspetti visivi della produzione e della ricezione della musica. La prima parte concerne la possibilità di visualizzare l’opera intesa come tipo ideale strutturale. La seconda parte discute il ruolo della visione nell’esecuzione delle opere musicali. La terza parte si sofferma brevemente sul ruolo della visualizzazione immaginativa e del vedere performativo nelle pratiche dell’improvvisazione. La conclusione propone un rapido riferimento all’iconologia musicale. (shrink)

Rhythm: definition and philosophical accounts.

Gianni Vattimo ha elaborato l’estetica e la teoria dell’arte del «pensiero debole» soprattutto in alcuni articoli pubblicati nella «Rivista di Estetica» (della quale è stato direttore). Parte di questi saggi è stata poi raccolta nella seconda sezione di una delle sue opere centrali, La fine della modernità, sezione intitolata, significativamente, La verità dell’arte. Le diverse questioni discusse da Vattimo sono infatti attraversate dal filo conduttore del problema della verità dell’arte, nell’epoca del nichilismo, della fine della storia e del mondo estetizzato (...) dei mass media. Attraverso una lettura teoreticamente produttiva di M. Heidegger e F. Nietzsche, ma anche – come si vedrà – di certe pagine kantiane, e al contempo “indebolendo” l’ermeneutica di H.-G. Gadamer (ma anche quella di L. Pareyson),Vattimo affronta la questione dell’arte, della sua verità, del suo significato, del suo statuto ontologico, mettendo anzitutto in questione la domanda “che cos’è l’arte?” che molti studiosi, sia in ambito “analitico”, sia in ambito “continentale”, pongono al centro della riflessione estetica. Ha infatti senso, oggi, chiedersi «che cos’è l’arte?», cercando di fornire una definizione che restituisca l’ontos on, l’essenza dell’arte? O è proprio il fatto di presumere la possibilità di offrire una definizione a costituire il vero problema, in quanto tale assunzione presuppone già un determinato modo di pensare il mondo, modo di pensare che, storicamente, si è costituito come la metafisica occidentale? E se nel post-moderno la metafisica occidentale viene decostruita da un pensiero e da prassi vitali che ne mettono in crisi le griglie concettuali, ne sovvertono gli ordini e le tassonomie, esibendone così l’infondatezza, com’è possibile definire, pensare e praticare l’arte e l’estetica, che sono categorie impiantate solidamente nelle strutture della metafisica? (shrink)

Jerrold Levinson has elegantly defended a proposal for the ethical evaluation of popular songs, which looks at the ‘personal qualities’ a song exhibits. I claim that the personal-qualities theory of artistic expression importantly contributes to explaining how songs get to have their meanings, yet that it does not very profitably extend to their ethical evaluation. I propose that the notion of a work’s ethical perspective best generates a central way of ethically evaluating popular songs, by properly linking the ethical evaluation (...) of songs to their meanings. Reference to songs’ ethical perspectives proves able to (a) enjoy broad scope; (b) produce charitable ethical assessments; (c) generate fine-grained and comparative attributions of ethical value; and (d) deal, better than the personal-qualities view, with songs that include multiple characters, manifest despicable personae without explicitly condemning them, or exhibit a persona that eschews ethical evaluation. Investigating the theoretical centrality of this type of ethical judgment also provides us with an opportunity to better understand what construing the meaning of songs—and more generally works of art—involves: when relevant, the proper construal of works’ ethical perspectives’ objects, and of the perspectives themselves as often presenting us with outlooks just for our consideration, not approval. I close by suggesting a possible relationship between our song preferences and our sense of self, via David Hume’s notion of pride: the songs we favour help us with self-perception and -assessment, and perhaps with self-construction. (shrink)

In questo articolo prenderò spunto da due affermazioni attribuite a Miles Davis per discutere un aspetto importante di quello che l’improvvisazione ci insegna sulle pratiche umane: situazioni impreviste, magari indesiderate, possono risultare stimoli sorprendenti per l’esercizio della creatività, anziché restare elementi di disturbo o solamente semplici errori. Questo esercizio di creatività è il modo in cui costruiamo ordini normativi nelle nostre pratiche, artistiche e non.

Evaluativists hold that psychiatric disorders have a factual and evaluative dimension and recognize that psychiatric patients have an active role in shaping their symptoms, influencing the development of their disorders, and the outcome of psychiatric therapy. This is reflected in person-centered approaches that explicitly consider the role of values in psychiatric conceptualization, classification, and decision-making. In this respect, in light of the recent partnership between Fulford’s value-based practice (VBP), and Stanghellini’s phenomenological-hermeneutic-dynamical (P.H.D) psychotherapy method, this paper presents a comparative analysis (...) of two person-centered approaches to psychiatric care currently discussed within the literature. I claim that while these approaches share some core ideas, they also present important divergences concerning their axiological underpinnings, which could potentially compromise their partnership. In particular, by exploring their theoretical, practical, and ethical dimensions, I show that these models have different conceptions of what values are, which, in turn, affect their understanding of how values relate to the person and how clinicians can identify them. Finally, I argue that although Fulford’s and Stanghellini’s approaches are prima facie compatible and complementary, developing a “combined analytic-plus-phenomenological form of values-based practice” should address fundamental conceptual issues if it is to become a consistent and coherent method for psychiatric care. (shrink)

This paper considers the issue of musical improvisational interactions in the digital era by pursuing the following three steps. 1) I will raise the question of the meaning and value of liveness, and in particular of live musical improvisation, in the age of the internet and discuss some effects of the so called digital revolution on improvisation practices. 2) Then I will suggest that the interactions made possible by the web can be understood as kinds of live improvisational practices and (...) I will briefly outline how such practices also involve musical improvisation. 3) Finally, I will focus on some aesthetic and philosophical aspects of new kinds of live improvisation made possible by recent progress in artificial intelligence research. (shrink)

Offers a comprehensive historical overview of the field of aesthetics. Eighteen specially commissioned essays introduce and explore the contributions of those philosophers who have shaped the subject, from its origins in the work of the ancient Greeks to contemporary developments in the 21st Century. -/- The book reconstructs the history of aesthetics, clearly illustrating the most important attempts to address such crucial issues as the nature of aesthetic judgment, the status of art, and the place of the arts within society. (...) Ideal for undergraduate students, the book lays the necessary foundations for a complete and thorough understanding of this fascinating subject. -/- Table of Contents -/- Introduction \ 1. Plato, Robert Stecker \ 2. Aristotle, Angela Curran \ 3. Medieval Aesthetics, Gian Carlo Garfagnini \ 4. David Hume, Alan Goldman \ 5. Immanuel Kant, Elisabeth Schellekens \ 6. G.W.F. Hegel, Richard Eldridge \ 7. Arthur Schopenhauer and Friedrich Nietzsche, Scott Jenkins \ 8. Benedetto Croce and Robin Collingwood, Gary Kemp \ 9. Roger Fry and Clive Bell, Susan Feagin \ 10. John Dewey, Thomas Leddy \ 11. Martin Heidegger, Joseph Shieber \ 12. Walter Benjamin and T.W. Adorno, Gerhard Richter \ 13. Monroe Beardsley, Noël Carroll \14. Nelson Goodman, Alessandro Giovannelli \ 15. Richard A.Wollheim, Malcolm Budd \ 16. Arthur C. Danto, Sondra Bacharach \ 17. Kendall L. Walton, David Davies \ Some Contemporary Developments, Alessandro Giovannelli . (shrink)

Questo articolo indaga il rapporto di Machiavelli con il problema della tirannide nell'aristotelismo scolastico. In particolare, analizza i passaggi mancanti nell’analisi della tirannide di Machiavelli sullo sfondo dei testi volgarizzati di due pensatori aristotelici presenti nel contesto di Machiavelli: Egidio Romano e Marsilio da Padova. Si sostiene che alcuni temi politici pragmatici del pensiero politico di Machiavelli hanno interessanti antecedenti già in precedenti pensatori aristotelici medievali.

The paper comprehensively responds to critical comments by F. Michelman, D. Rasmussen, J. van der Walt, S. Winter, P. Niesen, and B. Schupmann on Sovereignty Across Generations. Constituent Power and Political Liberalism. The themes debated include: whether Rawls’s dualist view of democracy, including his idea of legitimation by constitution, intimates or calls for a concretistic view of a subject of constituent power as creator of the constitutional order (Michelman); the relation of the normative to the historical in political liberalism and (...) whether Plato’s allegory of the cave is helpful for elucidating the meaning of the ‘most reasonable for us’ (Rasmussen); Rawls’s stance vis-à-vis the unbridgeable divisiveness of pluralism, the virtuality of overlapping consensus, and the dissolution of constituent power into a panoply of constituent powers (Van der Walt); democratic sequential sovereignty contrasted with serial sovereignty, the sensibleness of distinguishing legal principles from the cognitive assumptions undergirding their application, the justification of sequential sovereignty, and the nexus of vertical reciprocity and freedom across generations (Winter); the implications of the gap between ‘the people’ and the population for constitutional legitimacy, and the distinct prospects for a Habermasian and a political liberal conception of constituent power to be applicable at a supranational level (Niesen); the cogency and effectiveness of ‘implicit unamendability’ for safeguarding constitutional essentials compared with entrenching them via eternity clauses, the extent to which measures of militant democracy are compatible with political liberalism (Schupmann). (shrink)

We extend to the predicate frame a previous characterization of the maximal intermediate propositional constructive logics. This provides a technique to get maximal intermediate predicate constructive logics starting from suitable sets of classically valid predicate formulae we call maximal nonstandard predicate constructive logics. As an example of this technique, we exhibit two maximal intermediate predicate constructive logics, yet leaving open the problem of stating whether the two logics are distinct. Further properties of these logics will be also investigated.

It is shown, assuming the existence of a Woodin cardinal δ, that every tree ordering on some limit ordinal $\lambda < \delta$ with a cofinal branch is the tree ordering of some iteration tree on V.

In questo volume, dal forte tratto interdisciplinare, sono raccolti contributi che affrontano il tema delle abitudini estetiche sia dal punto di vista teorico che da quello pratico e applicativo. Infatti, le abitudini sono un aspetto fondamentale dell’esistenza delle persone. Spesso le diamo per scontate, ma in realtà sono dotate di una profonda dimensione sociale, culturale ed estetica. Le abitudini, che organizzano le specifiche forme di vita di un’epoca e di una cultura, assumono la dimensione di stili collettivi che ne manifestano (...) lo specifico ethos e forgiano esteticamente anche i luoghi dove le diverse pratiche umane vengono esercitate. Così, l’ambiente urbano è espressione delle abitudini che organizzano e regolano la vita di una cultura, dando forma a risorse, capacità e attitudini percettive, affettive, espressive, simboliche, cognitive ed immaginative. (shrink)

In recent years, the concept of habits has emerged as a focal point within international philosophical discourse, particularly through historical, theoretical, and empirical lenses encompassing and integrating, among others, philosophical, psychological, neuroscientific and sociological perspectives. Habits, understood as dispositions that facilitate individual and social activities, influence everything from mundane daily practices to highly specialized skills. They shape the interaction between organism and en- vironment, playing a pivotal role in personal and collective identity formation, cultural education, social coordination, organization and change, (...) and the manifestation of political engagement. However, the exploration of habits within the realm of aesthetics is a relatively new and intriguing domain. This special issue of “Aisthesis” seeks to bridge this gap by examining the intricate relationship between habits and the aesthetic life. (shrink)

The idea that art is related to a process of creation is a modern one. Through a complex history in the $)th century, which is not without contradictions, the connection between art and creativity was debated in different fields – psychology, epistemology, cognitive science, etc. – and became the target of attacks from marxism and (post-)structuralism. Still, the notion of creativity seems to have conserved its force not only in everyday practices but also in media discourses. In diverse areas – (...) from art theory to epistemology, from action theory to economics, from computer science to psychology (to give only a few examples) – it has regained the attention of scholars as well, as is made clear by the number of recent publications on the topic. However, questions remain as to whether and how the notion of creativity can be used and what kind of conceptual work it can do. Trópos dedicated a call for papers to this topic. Selected papers are published in two special issues. The present one includes essays offering theoretical investigations on creativity. They do this under different, even contrasting, perspectives, with different aims and with di5erent outcomes. Yet, the light they throw on the question at issue provides readers with important, often creative, insights. Through them, readers are invited to think creatively, as well as critically, on creativity and its connections with the arts and aesthetics. (shrink)

Collecting is one of the most widespread cultural practices in the world; which, similar to art – already the subject of a long tradition of philosophical studies – has given rise to the most various creations over the centuries. This refers not only to the countless types of objects that have been the focus of collections but, above all, to the object that constitutes their most defining production: the collection itself, collectively understood as an unparalleled artifact. But from a metaphysical (...) point of view, what is a collection? Starting from the peculiar relationship between a collection and the objects that compose it, in this article we will investigate the essence that distinguishes a collection from any other type of set or gathering of objects. The answer to the question “what is a collection?” will thus culminate in the outline of a specific theory, the abstract artifactualism of collections. (shrink)

Manuale di filosofia, a c. di F. Palchetti, vol. I.

This doctoral dissertation articulates a libertarian theory of free will and moral responsibility alongside a narrative view of personal identity. In this dissertation, I build upon and expand Robert Kane’s libertarian theory to create a mitigation strategy for dealing with a perennial problem for libertarian theories of freedom and moral responsibility: the problem of luck. I argue that Kane’s basic idea of self-forming actions or SFAs can be built upon to show how the luck objection can be undercut. I argue (...) that SFAs take place within a larger narrative structure and that when we make SFAs we are also engaged in what Kane calls value experiments. I construct a theory of narrative personal identity and put it to work to show how the problem of luck is mitigated and that SFAs are not just a matter of luck. (shrink)

The current literature on nanoethics focuses on a wide array of topics such as equity, privacy, military, environment, human enhancement, intellectual property, and security. The identification of those topics leads to the adoption of an ethical stance, which we call the in itself dimension . In this article we argue that even though it is correct to identify the areas where ethical problems are imperative to deal with ( in itself dimension ), it is a partial approach. This is because (...) the in itself dimension pays no attention to another ethical stance; one that does not have anything to do with individual or collective responsibilities, but rather with the socio-economic system into which those responsibilities are embedded. We call this second issue the contextual dimension. (shrink)

El autor presenta en primer lugar los fundamentos conceptuales que dieron origen al psicoanálisis, siguiendo las influencias de época que recibe Freud y argumentando que éste construyó el psicoanálisis como una ciencia más dentro del territorio que definieron las ciencias de la naturaleza. Luego problematiza algunos temas que la ciencia deja de lado en su consideración sobre los cuales el psicoanálisis puede aportar: el problema del sujeto de la ciencia y el problema del pensamiento y la lógica del descubrimiento.

The resurgence of infectious diseases and the emergence of infectious diseases raise questions on how to cope with the situation. The germ or clinical approach is the hegemonic biomedical paradigm. In this article, the author argues that the spread of infectious diseases has posted a challenge to the biomedical paradigm and shows how lock-in procedures maintain alternative and complementary medicine paradigms in the backyard.