It is often assumed that habits and aesthetic experiences are fundamentally and irreconcilably opposed. Typically, aesthetic experiences are considered to necessitate non-habitual behavior and to provoke unexpected mental states and extraordinary affective sensations. This article challenges this assumption. Moving beyond potential structural analogies between habitual behavior and aesthetic experience, I focus on two key aspects. Firstly, I argue that the experience of beauty and aesthetic experiences in general actually depend on certain habits, specifically those engaged in aesthetic agency and appreciation, (...) which I term «aesthetic habits». Secondly, I propose that habits have an aesthetic origin, as they virtuously evolve and adapt to their environment. This transformative capacity, along with their ability to resonate with specific situational demands, embodies an improvisational quality that should be encouraged, reflecting the inherently unpredictable and uncontrollable nature of aesthetic experience. (shrink)

Empirical evidence suggests that while people hold the capacity to control their data in high regard, they increasingly experience a loss of control over their data in the online world. The capacity to exert control over the generation and flow of personal information is a fundamental premise to important values such as autonomy, privacy, and trust. In healthcare and clinical research this capacity is generally achieved indirectly, by agreeing to specific conditions of informational exposure. Such conditions can be openly stated (...) in informed consent documents or be implicit in the norms of confidentiality that govern the relationships of patients and healthcare professionals. However, with medicine becoming a data-intense enterprise, informed consent and medical confidentiality, as mechanisms of control, are put under pressure. In this paper we explore emerging models of informational control in data-intense healthcare and clinical research, which can compensate for the limitations of currently available instruments. More specifically, we discuss three approaches that hold promise in increasing individual control: the emergence of data portability rights as means to control data access, new mechanisms of informed consent as tools to control data use, and finally, new participatory governance schemes that allow individuals to control their data through direct involvement in data governance. We conclude by suggesting that, despite the impression that biomedical big data diminish individual control, the synergistic effect of new data management models can in fact improve it. (shrink)

This essay develops a theory of improvisation as practice of aesthetic sense-making. While considering all arts, references are made to many concrete cases. A topic in vogue since the XX. century, as evidenced by the great philosophers who were interested in it (Ryle, Derrida, Eco among others), improvisation, a felicitous mixture of habit and creativity, norm and freedom, is constitutive of human action. Human practices – including very well-regulated activities such as playing chess, piloting airplanes, or medicine – permit and (...) often require it to varying degrees. Improvisation is also the true source of artistic experience. Consequently, the aesthetics of improvisation result in a philosophy of art: Art was born as improvisation. Yet improvisation has its own aesthetic dimension: that of a "grammar of contingency" in which notions such as emergence, presence, curiosity and authenticity explain the pleasures of joyful adventure and empathic involvement elicited by improvisation. (shrink)

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)

The way we answer questions about what there is crucially depends on the language and the logic in which they are framed. This entry introduces the orthodox view on how to carry out such debates, as was formulated by W. V. O. Quine, as well as a number of influential alternatives. A further issue that is explored is whether disagreement about what there is turns on mind-independent features of reality, or it is an artifact of language.

Until recently, an almost perfect parallelism seemed to hold between theories of identity through time and across possible worlds,as every account in the temporal case(endurantism,perdurantism, exdurantism) was mirrored by a twin account in the modal case (trans-world identity, identity-via-parts, identity-via-counterparts). Nevertheless, in the recent literature, this parallelism has been broken because of the implementation in the debate of the relation of location. In particular, endurantism has been subject to a more in-depth analysis, and different versions of it, corresponding to different (...) ways an entity can be located in time, emerged. In this article, we provide a precise map of the conceptions at stake, complete the debate by introducing a version of endurantism not yet considered in the debate — we call transcendentism — and show that it allows us to provide an effective interpretation of the relation of trans-world identity and an intuitive solution in the temporal case. (shrink)

On one influential view, metaphysical fundamentality can be understood in terms of joint‐carving. Ted Sider has recently argued that (i) some first order quantifier is joint‐carving, and (ii) modal notions are not joint‐carving. After vindicating the theoretical indispensability of quantification against recent criticism, I will defend a logical result due to Arnold Koslow which implies that (i) and (ii) are incompatible. I will therefore consider an alternative understanding of Sider's metaphysics to the effect that (i) some first order quantifier is (...) joint‐carving, and (iii) intensional notions are not joint‐carving. Another result due to Koslow entails that (i) and (iii) are also incompatible. I will argue that this second result is inconclusive. Nevertheless, (iii) is incompatible with another tenet of Sider's metaphysics, namely that (iv) ‘being joint‐carving’ is itself joint‐carving. In order to resolve the inconsistency, I will tentatively argue that condition (iv) should be renounced. (shrink)

Keenan (1987) observed that trivial determiners built from basic existential determiners (e.g.,either zero or else more than zero) are allowed inthere-insertion contexts, and that trivial determiners built from basic non-existential determiners (e.g.,either all or else not all) are not. This result is unexpected under the analyses ofthere-sentences proposed in Barwise and Cooper (1981), Higginbotham (1987), and Keenan (1987). I argue that the class of NPs barred from the postverbal position ofthere-sentences (strong NPs) is correctly characterized in presuppositional terms, as suggested (...) in de Jong and Verkuyl (1985) and Lumsden (1988). According to this characterization, strong NPs share one of the defining components of definiteness proposed in Heim (1982), namely the Descriptive Content Condition (DCC). How to derive the prohibition against strong NPs inthere-insertion contexts (definiteness effect) from the fact that strong NPs meet the DCC is not obvious, however. I argue that accounting for this prohibition involves regarding the XP-coda in [there be NP XP] as providing the contextual domain for the interpretation of the postverbal NP. (shrink)

We prove that the theory IΔ0, extended by a weak version of the Δ0-Pigeonhole Principle, proves that every integer is the sum of four squares (Lagrange's theorem). Since the required weak version is derivable from the theory IΔ0 + ∀x (xlog(x) exists), our results give a positive answer to a question of Macintyre (1986). In the rest of the paper we consider the number-theoretical consequences of a new combinatorial principle, the ‘Δ0-Equipartition Principle’ (Δ0EQ). In particular we give a new proof, (...) which can be formalized in IΔ0 + Δ0EQ, of the fact that every prime of the form 4n + 1 is the sum of two squares. (shrink)

This article explores the role of habits in shapingaesthetic normativity. It asserts that standards of value within aesthetic agency are not immutable, objective criteriadetached from personal engagement in appreciationand creation, nor should they be reduced to mere individualsubjective pleasure. The former stance fails to consider theessential expressivity and creativity at the heart of aestheticpractices, while the latter overlooks the normative frameworkthat underpins the significance, validity, and qualityof aesthetic agency. This framework is represented in theestablished rules of taste, the need for (...) aesthetic education,and the dynamics of aesthetic disagreements. Consequently, effective aesthetic normativity requires abalance: practices must be organized structurally aroundvalues that are, to a certain degree, communally shared, yetflexible enough to incorporate the expressive creativity ofindividual appreciation. This article contributes a nuancedexplanation of aesthetic normativity by elucidating the impactof habits on aesthetic practices. (shrink)

- Biological and cognitive systems have the capa- bility of developing new goals during phylogenesis of species or during ontogenesis of single individuals. On the other hand, current artificial cognitive systems focus on how achieving a given fixed set of hard-wired goals. They search an optimal solution of a problem, given a set of goals and a set of optimiza- tion criteria. They look for “how” to achieve a given goal. Natural agents develop new goals in order to cope with (...) par- tially unknown and ever changing environment. They must find “what” they want to achieve and not only “how”. The development of new goals on the basis of the interaction with the environment is here defined the “what” problem. The de- velopment of a collection of goals permits to redefine the con- cept of Umwelt in what could be considered the teleological Umwelt of an agent. The objective of this paper is twofold: i) to outline the “what” problem and ii) to describe a robotic archi- tecture capable of addressing it. (shrink)

In recent years a certain emphasis has been put by some scholars on Leibniz’s concern about empirical sciences and the relations between such concern and the development of his mature metaphysical system. In this paper I focus on Leibniz’s interest for the microscope and the astonishing discoveries that such instrument made possible in the field of the life sciences during the last part of the Seventeenth century. The observation of physical bodies carried out by the “magnifying glasses” revealed a matter (...) swarming everywhere with life and activity, contrary to the cartesian and atomistic view of matter as something sterile and passive. Moreover, the discovery of uncountable complete “animalcula” living in the smallest drop of water provided evidence for the idea of the preformation of every organism. During his lifetime, Leibniz was extremely watchful about the new microscopical discoveries and came into contact with some of the major “observers” of his time, such as Hooke, Leeuwenhoek, Swammerdam and Malpighi. Relying both on some passages in Leibniz’s texts and on recent critical studies, I will argue that important aspects of his metaphysics have been strongly affected by the empirical observation of the “invisible world” which the microscope made possible. In the last part of the paper I show how the concept of “preformation”, originally drawn from the context of the life sciences, comes to play in Leibnizʼs philosophy a very general role, going far beyond the scope of biology and shaping important aspects of his overall philosophical system. (shrink)

With the publication of Theorie des kommunikativen Handelns (1981) and of his essays “A Reply to my Critics” (1982), “Diskursethik — Notizen zu einem Bugründungsprogramm” (1983), “Moralbewusstsein und kommunikatives Handeln” (1983), and “Über Moralität und Sitdichkeit — Was macht eine Lebensform ‘rational’?” (1984), Habermas has considerably developed and systematized his views on ethics. Up to Communication and the Evolution of Society (1979), ethics had been of interest to Habermas mainly insofar as certain concepts related to it — such as the (...) ideal speech situation, communicative action, presuppositions of argumentation, etc. — were crucial for the purpose of grounding a universalistic point of view in philosophy and in social theory. (shrink)

The paper is structured into four parts. Firstly I discuss the connection between the concept of injustice and the idea of human or individual rights. The claim is quite trivial: the language of rights has been and is still used as a strategy to demand correctives against injustice. Since this strategy has negative effects, of which concrete examples are given, I suggest a different grammar be adopted, the grammar of needs, which is what societies adopt in their justificatory discourses anyway. (...) This leads into a consideration of how social criticism could start precisely from such discourses and why, under specific circumstances, the grammar of needs could represent a better strategy for this criticism than the language of rights does. (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)

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)

Purpose The purpose of this study is to generate a better understanding of the nature of Corporate Social Responsibility (CSR) communication on social media. In fact social media are one of the most effective communication channels in contemporary business settings. Due to their inner characteristics, they should be the ideal channel for communicating CSR topics. Over the last 15 years, a variety of researches discussed the interplay between CSR and social media, resulting in a rather tangled body of knowledge. Design/methodology/approach (...) This study proposes a scoping review of published academic literature at the intersection of these two research bodies (i.e. CSR and social media communication) to shed light on the nature of the communication, strategic challenges and practices, as well as their key factors and impact. Findings To date, academic research related to the nature of CSR on social media is fragmented and blurry. This research sheds light on the challenges of interactive social media communication in CSR and presents an account of key strategies, tactics and possible impacts for these challenging communication practices. Originality/value This research generates a better understanding of the nature of CSR communication on social media, strategic challenges and practices, as well as their key factors and impact. It is the tentative of generating a synthetic account of relevant literature in the field. (shrink)

In this paper, I defend that the concept of systemic suffering represents a useful tool for social criticism. I shall first make some preliminary methodological remarks (1) and present different meanings that have been attributed to the concept of social suffering (2). I will then suggest that we adopt the concept of systemic suffering instead (3). The next step consists in showing how this form of suffering is connected to the existence of non-material aspects that contribute to social reproduction and (...) that can be defined as systemic doctrines (4). Finally, I shall offer some remarks on possible strategies for criticizing systemic suffering (5). (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)

This article aims to delve into the theoretical perspective on imagination in education, focusing specifically on Imaginative Education theory. The approach involves a dual objective: critically analyzing the limitations and specific potentials of Imaginative Education to stimulate contemporary discourse on imagination in education and using it as a foundation to frame current research in philosophy and psychology within an educational context. Key elements of this theoretical operation include a critical examination of philosophical taxonomies on the concept of imagination and its (...) reinterpretation in relation to Predictive Coding and Embodied Cognition theories. The fundamental goal of this conceptual clarification goes beyond the theoretical realm. The article aspires to contribute to the growing interest in imagination, fantasy, and creativity as essential elements of curriculum design and teacher education, serving both as educational objectives and resources to create meaningful learning environments and experiences. Hence, the focus on the IE theory aims to bridge the gap between theoretical reflections on imagination and learning and their practical implications in curriculum design and teacher education or professional development. (shrink)

This article shows that a forgotten source of Marsilius’ scientia of law-making in the Defensor Pacis is the Lucidator, the main astrological work of Peter of Abano. A compared analysis of these two works demonstrates that the theories of experientia and scientia that Marsilius considers necessary to make laws in the first dictio of the Defensor Pacis entirely draw on Peter of Abano’s views on the epistemological status of ‘the science of the stars’. It is shown that the purpose of (...) Marsilius’ reinstatement of Peter of Abano’s theory of scientia is to build a science of law-making that does not need natural law and is based on experience and certain demonstrations. (shrink)

O artigo discute o papel da solidariedade na sociedade pós-convencional, mostrandocomo ela se entrelaça com a noção de uma autonomia individual amparada em direitosfundamentais. Para este fim, serão considerados dois experimentos mentais pensados porJoel Feinberg e Eamonn Callan, em seguida, se passará à definição que Jürgen Habermas eAxel Honneth deram do conceito de solidariedade e, finalmente, serão apresentadas algumasconsiderações sobre o conceito de autonomia individual.

The assumption that origins can be defined as a hermeneutic paradigm in the humanities and in the sciences is explored in relation to specific theoretical ...

In this paper I suggest that we look to improvisation in order to understand artistic creativity. Indeed, instead of being anti-artistic in nature, due to its supposed unpreparedness, inaccuracy, and repetitive monotony, improvisation in art exemplifies and 'fuels' artistic creativity as such. I elucidate the relationship between improvisation and artistic creativity in four steps. I discuss the concept of creativity in general (I) and in reference to art (II). Then I focus on the properties and the phenomenology of improvisation (III). (...) Finally, I explain why improvisation can be understood as an exemplifying instance of art creativity (IV). (shrink)

Christian Metz can rightfully be considered the founder of the semiology of cinema. This essay traces the supporting structures, and the problems connected to them, of this theoretical effort, starting first of all from the context that nourished it. The difficulties associated with both the construction of a general semiology and the use of its categories in cinema and artistic languages emerge.

This volume covers a wide range of topics that fall under the 'philosophy of quantifiers', a philosophy that spans across multiple areas such as logic, metaphysics, epistemology, and even the history of philosophy. It discusses the import of quantifier variance in the model theory of mathematics. It advances an argument for the uniqueness of quantifier meaning in terms of Evert Beth’s notion of implicit definition, and clarifies the oldest explicit formulation of quantifier variance: the one proposed by Rudolf Carnap. -/- (...) The volume further examines what it means that a quantifier can have multiple meanings, and addresses how existential vagueness can induce vagueness in our modal notions. Finally, the book explores the role played by quantifiers with respect to various kinds of semantic paradoxes, the logicality issue, ontological commitment, and the behavior of quantifiers in intensional contexts. ​. (shrink)

That each individual acts according to his own interests, that he is the best judge of these interests, whether economic or political, and that democratic government, given representative mechanisms that allow citizens to choose among different political offerings, is automatically the most efficient one possible for satisfying people's interests — this is a series of assumptions that lies behind a lot of common-sense opinions that lead people to prefer democracy over other forms of government. A general theory of government rests (...) on these same assumptions, elaborated by a vast, specialized literature. Already it seems to dominate totally the academic scene in Anglo-Saxon countries, is spreading also to Scandinavia, Germany, and Switzerland, and is even being discussed in Italy. (shrink)

In interacting with artificial social agents, novel forms of sociality between humans and machines emerge. The theme of Social Agency between humans and robots is of emerging importance. In this paper key theoretical issues are discussed in a preliminary exploration of the concept. We try to understand what Social Agency is and how it is created by, negotiated with, and attributed to artificial agents. This is done in particular considering socially situated robots and by exploring how people recognize and accept (...) social agents. The interplay between humans and agents is investigated through dynamics of interpretation, signification and attribution. The ultimate goal of this research is to explore the challenges and opportunities brought by the design of socially intelligent agents. (shrink)

This article explores the connection between habits and the performing arts, arguing that habits are not only fundamental to the practice and appreciation of these arts but also inherently performative in nature. Drawing on insights from various philosophical traditions (including cognitive science, pragmatism, and phenomenology), it examines how habits function within artistic processes as resources for creativity and adaptation. Engaging critically with Noë’s interpretation of the entanglement between art and life, this article highlights the dual nature of habits: as routine (...) practices that scaffold artistic expression and as dynamic, transformative elements responsive to specific cultural and performative contexts. By focusing on key notions such as gesture, style, and rituality in the performing arts, this article discusses the role of habits in aesthetic experiences, highlighting how habits shape both artistic performances and audience engagement. This perspective challenges traditional views that oppose habits to creativity, defending instead the idea that habits are creatively operative in both the performing arts and their reception. (shrink)