Contextual type theories are largely explored in their applications to programming languages, but less investigated for knowledge representation purposes. The combination of a constructive language with a modal extension of contexts appears crucial to explore the attractive idea of a type-theoretical calculus of provability from refutable assumptions for non-monotonic reasoning. This paper introduces such a language: the modal operators are meant to internalize two different modes of correctness, respectively with necessity as the standard notion of constructive verification and possibility as (...) provability up to refutation of contextual conditions. (shrink)

According to Bem’s self-perception theory, people know their own minds in the same way that they know those of others: they infer their own minds by observing their own behavior and the circumstances in which this behavior takes place. Although Bem’s theory seems anti-introspectionistic, it claims that people infer their minds by observing their own behavior only when internal cues are weak, ambiguous, or un-interpretable. This has led some to argue that Bem does not rule out a priori introspective access (...) to the mind and thus introspection as a research method. This paper will discuss self-perception theory and its influence over recent research and will argue that introspection is not an autonomous research method. This is so because of its radical behavioristic outlook, according to which all methods and data of psychology must be public and not private. Then, the paper will discuss the epistemological implications of this behavioristic attitude on psychology. Finally, it will argue in favor of introspection as an autonomous research method and an independent source of data for psychology. (shrink)

In the present paper I shall investigate how far the employment of the vocative in Apollonius Rhodius' Argonautica and in Callimachus' Hymns i–iv complies with the Homeric usage as elucidated by Scott. For Apollonius, the relevant attestations have been listed, but hardly analysed, by Gildersleeve and Miller in A.J.P. xxiv , 197–9; the Callimachean material has never been examined, as far as I know. First of all, however, it will be useful to fill a gap in our knowledge and supplement (...) Scott's data by surveying the use of the vocative in the Homeric Hymns i–v. My survey has led me to the following results. (shrink)

125. The madman. Have you not heard of that madman who lighted a lantern at the bright sunshine of the morning, ran to the market, and began ceaselessly screaming: "I seek God! I seek God!"?This present essay is a shortened and adapted version of the first chapter of a large book of mine devoted to a comparison between ancient Greece and Christianity, shortly to be published in English by Michigan State University Press. Its theoretical core is the idea of mediation, (...) that is to say, the intangible connective element acting as a medium capable of linking humans to the world and the divine sphere that made the world possible in ancient times2. All this is related to our experience of object meant not only as a... (shrink)

In this paper we show that it is possible to eliminate the converse operator from the propositional dynamic logic CPDL (Converse PDL), without compromising the soundness and completeness of inference for it. Specifically we present an encoding of CPDL formulae into PDL that eliminates the converse programs from a CPDL formula, but adds enough information so as not to destroy its original meaning with respect to satisfiability, validity, and logical implication. Notably, the resulting PDL formula is polynomially related to the (...) original one. This fact allows one to build inference procedures for CPDL, by encoding CPDL formulae into PDL, and then running an inference procedure for PDL. (shrink)

Action dans l'espace, l'infini, la cognition humaine (link to the English text).

¿Es hoy aún posible pensar la creatividad sin el método, la invención sin la regla? La historia nos enseña que el arte es siempre inevitablemente tanto fantasía como disciplina, tanto creatividad como técnica, tanto genialidad como orden, y allí donde prevalece sólo uno de los dos momentos la creación artística corre siempre el riesgo de degenerar o en un mero delirio creativo sin resultados concretos o en un exasperante formalismo sin inspiración. De las reflexiones barrocas de Baltasar Gracián y de (...) Giambattista Vico nos viene la invitación a concebir la creatividad como ingenio, por lo tanto, a entender la creatividad como la capacidad de captar relaciones inéditas entre las cosas, las ideas o las palabras, o de formular intuiciones imprevisibles e imprevistas para los esquemas de pensamiento habituales o tradicionales, aunque reelaborando y conectando originalmente materiales ya dados. Este diverso modelo de creatividad, un modelo especialmente barroco, trata así de evitar el doble peligro de la exasperación fantástica, por un lado, y de la mortificación creativa, por el otro. Descubrir y profundizar la relación entre creatividad e ingenio, así como fue elaborado por Gracián y por Vico, puede entonces contribuir a arrojar nueva luz sobre la noción misma de creatividad, enriqueciéndola siempre con nuevos y más amplios significados.Palabras clave: creatividad, ingenio, Gracián, Vico. Is it still possible to think about creativity without method, or invention without rule? We can learn from history that art is always, unavoidably, a matter of fantasy as well as of discipline, of creativity as well as of technique, of geniality as well as of order; and that wherever only one of those moments prevails, artistic creation runs the risk of degenerating into mere creative delirium, with no concrete results, or in exasperating formalism, deprived of any inspiration. Baroque reflections of Baltasar Gracian and Giambattista Vico invite us to understand creativity as inventiveness, namely the capacity to grasp unprecedented links between things, ideas or words, or to formulate intuitions that were unpredictable and unpredicted for the traditional schemes of convencional or traditional thought, even if re-elaborated, and connecting well known materials in an original way. It is the aim of this particularly baroque model of creativity to avoid the double danger of fantastic exasperation, on the one hand, and creative mortification, on the other. Discovering and considering the relationship between creativity and inventiveness, as Gracian and Vico devised them, could therefore throw some light on the very notion of creativity, enriching it with new and broader meanings.Keywords: creativity, inventiveness, Gracian, Vico. (shrink)

Partiendo del cuestionamiento del diagnóstico de la situación italiana como "democracia bloqueada", el autor se plantea las respuestas teóricas necesarias para la superación de una "democracia sin cualidad"; cuestiones como la de cómo ha de ser una organización social en la que la obligación hacia el otro y hacia la comunidad conviva con y corrija el derecho de los individuos. ¿Está abierto aún el camino de las reformas? En la práctica ha faltado la solidaridad, entendida como posibilidad de sinergias derivadas (...) de una cooperación creativa en los diversos niveles de intervención y responsabilidad de los actores políticos y sociales, basada en normas y valores compartidos. (shrink)