The European Union’s Artificial Intelligence Act (AI Act) is a groundbreaking regulatory framework that integrates technical concepts and terminology from the rapidly evolving ecosystems of AI research and innovation into the legal domain. Precise definitions accessible to both AI experts and lawyers are crucial for the legislation to be effective. This paper provides an interdisciplinary analysis of the concepts of AI system, general purpose AI system, foundation model and generative AI across the different versions of the legal text (Commission proposal, (...) Parliament position and Council General Approach) before the final political agreement. The goal is to help bridge the understanding of these key terms between the technical and legal communities and contribute to a proper implementation of the AI Act. We provide an analysis of the concept of AI system considering its scientific foundation and the crucial role that it plays in the regulation, which requires a sound definition both from legal and technical standpoints. We connect the outcomes of this discussion with the analysis of the concept of general purpose AI system and its evolution during the negotiations. We also address the distinct conceptual meanings of AI system vs AI model and explore the technical nuances of the term foundation model. We conclude that rooting the definition of foundation model to its general purpose capabilities following standardised evaluation methodologies appears to be most appropriate approach. Lastly, we tackle the concept of generative AI, arguing that definitions of AI system that include “content” as one of the system’s outputs already captures it, and concluding that not all generative AI is based on foundation models. (shrink)

This book aims to provide fresh perspectives on Vattimo and Zabala's groundbreaking foundational text, Hermeneutic Communism, from 2011. The contributors to this collection of essays explore various facets of Vattimo and Zabala's "anarchic hermeneutics" and "weak communism" in order to investigate the concepts resulting from them, such as "framed democracies," "armed capitalism" and "conservative impositions." Vattimo and Zabala's text is one of the most innovative contributions to the current debate on Communism, in which authors such as Badiou, Negri, and Rancière (...) have been the protagonists so far. The unique and original contribution of Vattimo and Zabala's position consists in letting politics evolve from one of the anarchic origins of hermeneutics: the end of truth. This triggers the essential question of how far politics is possible without truth. One of the essential, methodologically innovative characteristics of this collection is its dialogical, hermeneutical form, which is achieved by inserting Vattimo and Zabala's personal reactions to each essay in the book. By responding to each chapter in turn, Vattimo and Zabala establish a hermeneutic dialogue with the contributors. Thus hermeneutics will not only be a central topic, but also an epistemological, concrete application of Vattimo and Zabala's theories. An indispensable critical tool for students, researchers, professors, activists and general readers interested in the philosophical and political debate on Communism, which encompasses a wide variety of disciplines such as philosophy, political science, sociology, postcolonial studies, critical theory and Latin American studies. Offering an innovative first analysis of the new concepts of Hermeneutic Communism, this book represents a vital contribution to the understanding of the intriguing interrelation between philosophical hermeneutics and political communism. (shrink)

Da uno dei padri fondatori dell’Italia come nazione, un veloce e agile compendio su filosofia, politica risorgimentale e musica, centrato sulle idee e i gusti artistici mazziniani e ambientato nel panorama melodrammatico della prima metà dell’Ottocento, governato dalla maestosa figura di Gioacchino Rossini. Il volume è arricchito anche da un altro breve estratto mazziniano riguardante la musica, proveniente da Dell’Arte in Italia – A proposito del “Marco Visconti” di Tommaso Grossi (1835).