The massive and unstoppable emergence of electronic books in libraries has altered their organization. This disruptive technology has led to structural changes. Currently, an e-book exists only if its metadata exists. The objective of this article is to analyse the impact that the massive incorporation of electronic books in university library systems is having in the processes of assignment of subject headings and classification codes. We carried out a survey of more than six hundred libraries, which means almost all the (...) university libraries in Portugal, Spain, England, United States, Brazil, Sweden, Norway, Finland and Australia. From the results obtained, it is deduced that: 1) librarians expect e-books to be provided with descriptive metadata related to the subject headings and classification codes; 2) the bibliographic records provided by publishers/providers seem to be improvable; 3) the quality of the metadata provided by the providers does not seem to be taken into account when selecting publishers for the purchase; 4) the discovery tools are also clearly improvable; 5) it seems that there is no “frustration” or “stress” among librarians about the changes produced in relation to technical processes; and, 6) it does not seem that we are facing a paradigm shift motivated by these issues. (shrink)

There is not one but many ways to picture the world--Australian "x-ray" pictures, cubish collages, Amerindian split-style figures, and pictures in two-point perspective each draw attention to different features of what they represent. Understanding Pictures argues that this diversity is the central fact with which a theory of figurative pictures must reckon. Lopes advances the theory that identifying pictures' subjects is akin to recognizing objects whose appearances have changed over time. He develops a schema for categorizing the different ways (...) pictures represent--the different kinds of meaning they have--and argues that that depiction's epistemic value lies in its representational diversity. He also offers a novel account of the phenomenology of pictorial experience, comparing pictures to visual prostheses like mirrors and binoculars. (shrink)

One of the key insights of Simone de Beauvoir’s The Second Sex is the idea that gender-based subordination is not just something done to women, but also something women do to themselves. This raises a question about ethical responsibility: if women are complicit, or actively implicated in their own oppression, are they at fault? Recent Beauvoir scholarship remains divided on this point. Here, I argue that Beauvoir did, in fact, ethically criticize many women for their complicity, as a sign of (...) what she called “bad faith”. I challenge recent accounts by Nancy Bauer and Manon Garcia, who both read Beauvoir as exonerating complicit women. According to this reading, women emerge as human “freedoms” within a social world where a “destiny” of inferiority is already prepared for them. Their self-subordination is then an inevitable product of acting in a patriarchal world. I argue, however, that this interpretation generates a crucial tension, leading Bauer and Garcia to call on women to stop being complicit, while also claiming they cannot avoid complicity. I propose instead a different interpretation, on which feminine complicity is often fueled by criticizable ethical attitudes that are far from inevitable. By revisiting Beauvoir’s notion of “bad faith”, I show that this account is compatible with recognizing the limitations imposed on women’s agency and I show that this feminist ethical criticism is itself an important part of a collective project of social transformation. (shrink)

Art works realize many values. According to tradition, not all of these values are characteristic of art: art works characteristically bear aesthetic value. Breaking with tradition, some now say that art works bear artistic value, as distinct from aesthetic value. I argue that there is no characteristic artistic value distinct from aesthetic value. The argument for this thesis suggests a new way to think about aesthetic value as it is characteristically realized by works of art.

Images have power - for good or ill. They may challenge us to see things anew and, in widening our experience, profoundly change who we are. The change can be ugly, as with propaganda, or enriching, as with many works of art. Sight and Sensibility explores the impact of images on what we know, how we see, and the moral assessments we make. Dominic Lopes shows how these are part of, not separate from, the aesthetic appeal of images. His (...) book will be essential reading for anyone working in aesthetics and art theory, and for all those intrigued by the power of images to affect our lives. '...tightly focused and carefully argued... an exceptionally interesting contribution to the philosophy of art: it contains subtle, concise, and convincing discussions of a number of difficult concepts and contentious doctrines... lucid and meticulous'. (shrink)

In recent years, online “involuntary celibate” or “incel” communities have been linked to various deadly attacks targeting women. Why do these men react to romantic rejection with not just disappointment, but murderous rage? Feminists have claimed this is because incels desire women as objects or, alternatively, because they feel entitled to women’s attention. I argue that both of these explanatory models are insufficient. They fail to account for incels’ distinctive ambivalence toward women—for their oscillation between obsessive desire and violent hatred. (...) I propose instead that what incels want is a Beauvoirian “Other.” For Beauvoir, when men conceive of women as Others, they represent them as simultaneously human subjects and embodiments of the natural world. Women function then as sui generis entities through which men can experience themselves as praiseworthy heroes, regardless of the quality of their actions. I go on to give an illustrative analysis of Elliot Rodger’s autobiographical manifesto, “My Twisted World.” I show how this Beauvoirian model sheds light on Rodger’s racist and classist attitudes and gives us a better understanding of his ambivalence toward women. It therefore constitutes a powerful and overlooked theoretical alternative to accounts centered on objectification and entitlement. (shrink)

Nota do tradutor: O texto apresentado a seguir é uma tradução do ensaio “Heidegger and theology”. Para uma indicação de outras versões posteriores do texto e comentários a seu respeito, ver nota de rodapé 2, do autor, abaixo. No texto da tradução, a paginação original é indicada entre [ ] e em negrito.Nota preliminar do autor [235]: Este ensaio foi apresentado, de forma um pouco mais abreviada, para uma conferência de teólogos concernente ao tema sobre “o Pensamento e o Discurso (...) Não-objetivante na Teologia Contemporânea”1. Para os conferentes esse título tinha um significado atual e concreto: o uso do pensamento tardio de Martin Heidegger pelaa teologia protestante. Tendo em vista as circunstâncias de sua concepção e pronunciamento, e o eco que ele então provocou naquela ocasião e posteriormente2, achei melhor [236] deixar o ensaio com seu caráter original enquanto um discurso que se dirige a um público. (shrink)

Scientific images represent types or particulars. According to a standard history and epistemology of scientific images, drawings are fit to represent types and machine-made images are fit to represent particulars. The fact that archaeologists use drawings of particulars challenges this standard history and epistemology. It also suggests an account of the epistemic quality of archaeological drawings. This account stresses how images integrate non-conceptual and interepretive content.

When we look at photographs we literally see the objects that they are of. But seeing photographs as photographs engages aesthetic interests that are not engaged by seeing the objects that they are of. These claims appear incompatible. Sceptics about photography as an art form have endorsed the first claim in order to show that there is no photographic aesthetic. Proponents of photography as an art form have insisted that seeing things in photographs is quite unlike seeing things face-to-face. This (...) paper argues that the claims are compatible. While seeing things in photographs is quite unlike seeing things face-to-face, nevertheless seeing things in photographs is one way of seeing things. The differences between seeing things by means of photographs and by means of the naked eye provide the elements of an account of the aesthetic interests photographs engage. (shrink)

It is widely assumed that the art media can be individuated with reference to the sense modalities. Different art media are perceived by means of different sense modalities, and this tells us what properties of each medium are aesthetically relevant. The case of pictures appears to fit this principle well, for pictures are deemed purely and paradigmatically visual representations. However, recent psychological studies show that congenitally and early blind people have the ability to interpret and make raised‐line drawings through touch. (...) This shows that pictures are not essentially visual representations. The view that pictures are essentially visual follows from influential views of the nature of depiction and of the nature of vision that are mistaken. By rooting out the mistake, we learn something about pictures, something about vision, and something about the doctrine that art media are individuated by the sense modalities. (shrink)

The idea that women qua women can be dehumanized has been dismissed by feminist philosophers, like Kate Manne, and by philosophers of dehumanization, like David Livingstone Smith. Against these skeptics, I argue that we can and should use dehumanization to explain an important strand of misogyny. When they are dehumanized, women are represented simultaneously as human and as inhuman embodiments of the natural world. They therefore appear as magical, contaminating, sexualized threats towards whom violence is acceptable or even necessary. Misogynistic (...) dehumanization is important to understanding atrocities like the early modern European witch-hunts, but also contemporary phenomena like incel violence. (shrink)

Hypotheses in aesthetics should explain appreciative failure as well as appreciative success. They should state the general conditions under which people fail to understand and value works as works of art. This stricture is all the more important when the typical response to conceptual art is one of resistance. Some philosophers explain this by claiming that conceptual art violates traditional theories of art. Others say that it violates folk ontologies of art. In fact, the appreciative failure to which conceptual art (...) is prone is a consequence of the fact that it is not visual art, as it appears to be; rather it is an entirely new art form. Works in new art forms pose special challenges to appreciation. Identifying these challenges enriches theorizing about art. (shrink)

Jewish Law as Rebellion is unconventional and controversial in its approach to the world of Jewish Law and its response to religious crises. The book delves into the contemporary application and development of halacha and pointedly protests many accepted methods and ideals, offering new solutions to existing halachic dilemmas. Rabbi Cardozo discusses hot topics such as same-sex marriage, conversion, and religion in the State of Israel and presents a critical analysis and explanation of the application of halacha.

This paper shows that the Freudian “timelessness” of psychical process is not to be understood as a bare consequence of his distinction between conscious and unconscious psychical process. It shows that Freud have a positive and phenomenological characterization of that timelessness, obtained and affirmed beyond and against that distinction, and that the challenge that Freud, with this timelessness, throws to a “Kantian” philosophy is not completely senseless, but can be well worked-out in a somewhat Bergsonian lines.

This paper examines a form of pictorial realism that has epistemic import. Gombrich and Schier claim that some pictures are realistic because they convey accurate information. The difficulty is that judgments of realism vary across cultural and historical contexts. Goodman counters that pictures belong to different systems and realistic pictures belong to familiar systems. However, this does not explain the revelatory realism' of pictures in novel systems. I propose that two views can be combined: a realistic picture is one which (...) belongs to a system that conveys the kind of information that suits the needs of users in a context. (shrink)

Several recent books indicate that the philosophy of art has embarked upon a new alliance with cognitive science. One impetus for this is the move, beginning in the 70s and 80s, away from general aesthetics to a greater concern with the philosophies of the individual arts. Questions about the nature of art, expression, aesthetic experience and aesthetic properties as generic phenomena are still with us but many philosophers now approach them by means of specialized studies of music, literature, film, the (...) visual arts or the performing arts. Some claim that these questions can only be answered, or can best be answered, by studying the individual art forms. This has brought aesthetics into alignment with empirical research, which has always been concerned with individual art forms, for reasons having to do both with experimental design and with views of the mind as functionally differentiated. There is no psychological work on the perception of beauty, for example, but only on the perception of visual beauty, beauty in music and the like. Now that aesthetics is equally specialized, empirical research on the individual arts can be brought to bear upon familiar problems in aesthetics. (shrink)

At the end of 2017, Kristen Roupenian’s short story, Cat Person, went viral. Published at the height of the #MeToo movement, it depicted a ‘toxic date’ and a disturbing sexual encounter between Margot, a college student, and Robert, an older man she meets at work. The story was widely viewed as a relatable denunciation of women’s powerlessness and routine victimization. In this paper, I push against this common reading. I propose an alternative feminist interpretation through the lens of Simone de (...) Beauvoir’s notion of narcissism: a form of alienation that consists in making oneself both the subject and the ultimate project of one’s life. Framing Margot as a narcissist casts her as engaging, not in subtly coerced, undesired sex, but rather in sex that is desired in a tragically alienated way. I argue that Beauvoir’s notion of narcissism is an important tool for feminists today – well beyond the interpretation of Cat Person. It presses us to see systematic subordination not just as something done to women, but also as something women do to themselves. This in turn highlights the neglected role of self-transformation as a key aspect of feminist political resistance. (shrink)

Pictures are principally descriptive. Advertising images highlight features of potential purchases; cartoons open portals to scenes in fictional worlds; snapshots in the family photo album remind us of our past selves and landmark events in our personal histories; works of pictorial art express thoughts or feelings about depicted scenes. In addition, pictures serve a directive or action-guiding function that, though not taken into account by theorists, deserves no less attention than their descriptive one. Theories of depiction and the appreciation of (...) pictures stand to benefit by taking "directive pictures" into account, as do theories of representation in general and mental representation in particular. (shrink)

Some argue that there is no art in some non-Western cultures because members of those cultures have no concept of art. Others argue that members of some non-Western cultures have concepts of art because they have art. Both arguments assume that if there is art in a given culture, then some members of the culture have a concept of art. There are reasons to think that this assumption is false; and if it is false, there are lessons to learn for (...) cross-cultural studies of art both in anthropology and philosophy. (shrink)

Japan's Ise Jingu shrine has been taken down and rebuilt every twenty years for more than a millenium - a practice called "shikinen sengu." A standard ontology of architecture, according to which buildings are material particulars, implies that Ise Jingu is no more than twenty years old. However, a correct ontology of architecture is implicit in practices of architecture appreciation. The Japanese appreciation of Ise Jingu and other buildings in its architectural tradition implies both that it is no more than (...) twenty years old and that it is more than a thousand years old. Two ontologies are considered that reconcile this paradox. A general lesson is also drawn, that ontology of art can profit from cross-cultural studies. (shrink)

ABSTRACT One of the many philosophical issues discussed throughout Plutarch's Quaestiones convivales has to do with the origin and inner structure of the universe, i.e., cosmological discussions. It would be impossible to discuss in detail every passage of the treatise that deals with cosmological issues. Therefore, I chose to limit my analysis to the concepts of chance, fate, ‘what depends on us ’, and providence. My purpose is to explain these concepts in the QC and to extract from them a (...) cosmological doctrine. RESUMO Entre os vários problemas filosóficos discutidos ao longo das Quaestiones Convivales de Plutarco, um deles tem que ver com a origem e com a estrutura do universo, isto é, discussões de cariz cosmológico. Seria impossível comentar em detalhe todas as passagens do tratado sobre questões cosmológicas. Por isso, preferi limitar a análise aos conceitos de acaso, destino, 'o que depende de nós' eprovidência. O meu objetivo é explicar estes conceitos nas QC e deles inferir uma doutrina cosmológica. (shrink)

Apresento neste trabalho as linhas gerais dos desenvolvimentos metodológicos operados na fenomenologia contemporânea a partir do crescente processo de naturalização. Naturalizar a fenomenologia corresponde à interação de descrições fenomenológicas tradicionais com as descrições oriundas das ciências naturais. Em um primeiro momento apresento as variações metodológicas derivadas dessa interação e os resultados já consolidados na literatura. Posteriormente caracterizo de maneira mais precisa o projeto da neurofenomenologia e apresento algumas contribuições relativas ao estudo da afetividade tendo como pano de fundo a compreensão (...) desse fenômeno em termos enativistas. Chamo atenção, em particular, para um tipo de fenômeno afetivo específico, os sentimentos corporais de tipo existencial. Será possível, assim, apresentar uma avaliação de ordem metodológica relativa ao modo de acesso e descrição desses fenômenos, assumindo como ponto de partida a ideia neurofenomenológica de restrições mútuas entre os níveis de descrição. (shrink)

O texto é parte do dossiê em homenagem aos professores do departamento de filosofia da UFPI.

The paper offers some arguments in favour of the view that there are aesthetic properties of performances of works of Western classical music that always count as good-making features of such performances.

Este breve tratado explora um problema que, já latente na tragédia ou até nos Poemas Homéricos, acabou por se tornar num dos tópicos mais determinantes do helenismo: o destino (εἱμαρμένη). Presente na estrutura mais íntima da mundividência grega de um modo diacrônico e transversal, a leitura dos fenómenos naturais e humanos como emanações incontornáveis de uma esfera superior que prescreve e vigia ganhou no helenismo o estatuto de filosofema fundamental.

For centuries, philosophers have identified beauty with what brings pleasure. Dominic McIver Lopes challenges this interpretation by offering an entirely new theory of beauty - that beauty engages us in action, in concert with others, in the context of social networks - and sheds light on why aesthetic engagement is crucial for quality of life.

The market’s demand for high-quality products necessitates innovative manufacturing approaches that emphasize flexibility, adaptability, and the reduction of defects. Traditional systems are currently evolving towards embracing I4.0 technologies, including data collection, processing, analytics and digital twin, aiming for zero-defect manufacturing quality. This paper introduces an open platform, compliant with RAMI4.0 standards, designed to improve manufacturing quality. The platform integrates data using Asset Administration Shells with microservices adaptation for data ingestion and advanced analytics. Additionally, it incorporates Non-Destructive Inspection tools, demonstrating a (...) seamless integration of measurement and quality assurance. This study details the architectural specification and validation of the openZDM platform, employing microservices to ensure flexibility, modularity and scalability, aligning with the RAMI4.0 model. The platform was validated through deployment in an automotive assembly line, highlighting its effectiveness in integrating inspection scenarios and early defect detection tools. The architecture employs a choreographed approach to manage loosely coupled microservices, enabling efficient data lifecycle management from collection through analytics to visualization. (shrink)

The representation of color by pictures raises worthwhile questions for philosophers and psychologists. Moreover, philosophers and psychologists interested in answering these questions will benefit by paying attention to each other's work. Failure to recognize the potential for interdisciplinary cooperation can be attributed to tacit acceptance of the resemblance theory of pictorial color. I argue that this theory is inadequate, so philosophers of art have work to do devising an alternative. At the same time, if the resemblance theory is false, then (...) color depiction has interesting implications for color science. Empirical researchers must rethink the widespread assumption that color recognition requires color constancy. I suggest that a neuropsychological account of color recognition will be instrumental to completing the philosophical task, but by the same token scientists might do well not to proceed without casting an eye to the work of philosophers of art. (shrink)

Pictures belong to stylistic systems that vary historically and culturally. This variation suggests that styles are conventional. However, styles are not conventional. Styles have perceptual functions that make them apt for use in some contexts and not others.

The personal and political significance of social identity is well studied; this paper contributes to those studies a discussion of the metaphysics of identity. Three features of an adequate theory of identity are specified, two existing theories are considered, and concerns about them are leveraged in order to craft a new theory. An identity group is a group whose members value and commit to valuing enough of the activities and products of cultures associated with the group. Theories of culture and (...) commitment are provided. Some hard cases are discussed. (shrink)

Archaeology of Play proposes that play's antithesis is not seriousness, but rather one-dimensionality. It argues that the rediscovery of the Platonic-Aristotelian tripartivism lends to a more expansive appreciation of play in terms of three rhetorical registers, namely, skholé, agon, and paidia.

Dissertação: LOPES, Albert Drummond. A infecção da alma: um estudo do combate à imoralidade no jornal O Diário no período do Estado Novo. 2014. Dissertação , Programa de Pós-graduação em Ciências da Religião, Pontifícia Universidade Católica de Minas Gerais, Belo Horizonte.

A concepção da responsabilidade epistêmica sofre com algumas dificuldades teóricas conhecidas, principalmente relacionadas a visões que demandam condições de controle sobre nossas atitudes epistêmicas que não são realmente satisfeitas por nossas capacidades efetivas. Uma possibilidade teórica é a de adotarmos uma visão compatibilista de responsabilidade epistêmica apelando para a noção de atitudes reativas epistêmicas, o equivalente epistêmico das atitudes reativas participantes, atitudes naturais como ressentimento, gratidão, indignação, orgulho, vergonha, etc., que surgem em face de nossa participação em relações interpessoais. Esta (...) noção desempenha um papel crucial na influente visão de Peter Strawson sobre a constituição da responsabilidade moral (1962). Da mesma forma, uma proposta recente de Tollefsen (2017) argumenta que a noção de atitudes epistêmicas reativas pode nos fornecer uma fundamentação simplificada para considerarmos outros epistemicamente responsáveis, a qual tem implicações diretas em nossas visões sobre agência epistêmica e esclarece como as normas epistêmicas podem realmente regular comportamento. Neste artigo, discuto o tipo de compatibilismo em jogo nessa proposta e a defendo de duas preocupações que podem ser direcionadas contra ela: o argumento de que ela não propõe qualquer critério de responsabilidade epistêmica independente de critérios tradicionais, e o argumento de que tal visão reduz normatividade epistêmica meramente à normatividade social. (shrink)