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)

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.

Most model checking techniques for security protocols make a number of simplifying assumptions on the protocol and/or on its execution environment that greatly complicate or even prevent their applicability in some important cases. For instance, most techniques assume that communication between honest principals is controlled by a Dolev-Yao intruder, i.e. a malicious agent capable to overhear, divert, and fake messages. Yet we might be interested in establishing the security of a protocol that relies on a less unsecure channel (e.g. a (...) confidential channel provided by some other protocol sitting lower in the protocol stack). In this paper we propose a general model for security protocols based on the set-rewriting formalism that, coupled with the use of LTL, allows for the specification of assumptions on principals and communication channels as well as of complex security properties that are normally not handled by state-of-the-art security protocol analysers. By using our approach we have been able to formalise all the assumptions required by the ASW protocol for optimistic fair exchange and some of its key security properties. Besides the previously reported attacks on the protocol, we report a new attack on a patched version of the protocol. (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)

According to Gilbert Ryle, improvisation is a basic feature of ordinary action. In this paper, we take this idea seriously. Action is improvisation, in that it is situated: It is shaped by attentive responses to environmental circumstances. This is a crucial aspect of agency. However, it is neglected by causal theories of action (Bratman; Mele) and only partially addressed by Thompson’s process-oriented theory. By resorting to Kant’s theory of judgment, we argue for understanding action performance in terms of improvisational shaping (...) of action in situ. The focus on improvisation points to a situated kind of practical rationality entailing the reciprocal shaping of intention and action instead of the ordinary instrumental kind of rationality of action as unidirectionally determined by intention. (shrink)

This article reconstructs and systematically assesses Else’s Voigtländer’s theory of self-feelings. In the first section, I introduce the reader to the basic ideas of this theory by supporting the exegetical claim that the notion of self-feeling encompasses two distinct kinds of experiences: (i) a subject’s long-standing and enduring self-feeling, which is innate and biologically grounded, should be distinguished from (ii) the plurality of episodic self-feelings (or self-conscious emotions) this subject can experience. In the second section, I focus on the particular (...) class of self-feelings that Voigtländer labels as “inauthentic:” these are feelings where the evaluation of the self depends on the evaluations that others have about the self. After elaborating on the morally and epistemically negative connotation Voitgländer attaches to the notion of a feeling’s “inauthenticity,” I reject the generality of her claim in the third section: some social self-feelings are not inauthentic. (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 reliability of previous findings on two crucial aspects of counterfactual thinking, namely the content of counterfactual modifications and their impact on future performance, has been questioned for the frequent use of tasks characterised by simple causal domains, that restrict participants’ possibility to consider a broad range of modifications. To overcome this limitation, we utilised a new experimental task featuring a complex causal domain to investigate such key aspects. The results indicated that participants tend to generate counterfactuals about elements outside (...) their control, especially when presented with a challenging version of the task (Study 1a) and, to a lesser extent, when they receive negative feedback on their performance (Study 1b). Moreover, despite occasional implementations of actions mentioned in controllable counterfactuals, being engaged in counterfactual thinking did not lead to subsequent performance improvements (Study 2). The implications of these findings for the debate on the function of counterfactual thinking are discussed. (shrink)

It has been argued that the thirteenth and fourteenth centuries were a crucial period in the medieval development of the idea of contagion. Theologians and physicians cooperated in devising a conceptual model based on medical literature (Hippocratico-Galenic and Avicennian) and formulated primarily to explain the origin, transmission, and development of contagious diseases, but that was flexible enough to be applied to a number of other different phenomena (the communication of sin and vices, love sickness, fascination, etc.). This article explores the (...) ways in which Albert the Great contributed to the formation of this broad and highly articulated notion of contagion. First, he provided a systematic analysis of the mechanisms of pathogenesis and transmission of contagious diseases (in particular, pestilences and leprosy). Moreover, his interests encompassed several different forms of contagion, including the powers of stones (e.g., the attractive virtue of the magnet) and animals, the influences of the woman’s body and mind (mulier menstruata and vetula), fascination. Albert also provided different models for the explanation of the “contagious influence” (mechanical explanation based on physical contact, the Avicennian theory of psychosomatic transformations, the Avicennian doctrine of the power of the soul over external bodies, spiritual transmission of sins). As a result of his investigation into the mechanisms of disease transmission, air contamination, noxious influences, and fascination, Albert came to problematize the usual idea of natural causality based on the principle of contact between substances, and to test the potentials and limits of action at-a-distance. In particular, the present paper will examine Albert’s views on some of the phenomena explained through the concept of contagion: pestilences, leprosy, the basilisk, the menstruating woman, and fascination. (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)

In order to rebuild a useful theory that can aid in producing a profound change from the bottom up, it is fundamental to return to some of Habermas' greatest texts from his first thirty year of research and teaching, written by the Habermas who neo-reactionary and opportunitst Karl Marx considers dangerous because his ideas are too extreme and left-wing"--Page 4 of cover.

This volume features fourteen essays that examine the works of key figures within the phenomenological movement in a clear and accessible way. It presents the fertile, groundbreaking, and unique aspects of phenomenological theorizing against the background of contemporary debate about social ontology and collective intentionality. The expert contributors explore the insights of such thinkers as Martin Heidegger, Edmund Husserl, Adolf Reinach, and Max Scheler. Readers will also learn about other sources that, although almost wholly neglected by historians of philosophy, testify (...) to the vitality of the phenomenological tradition. In addition, the contributions highlight the systematic relevance of phenomenological research by pinpointing its position on social ontology and collective intentionality within the history of philosophy. By presenting phenomenological contributions in a scholarly yet accessible way, this volume introduces an interesting and important perspective into contemporary debate insofar as it bridges the gap between the analytical and the continental traditions in social philosophy. The volume provides readers with a deep understanding into such questions as: What does it mean to share experiences with others? What does it mean to share emotions with friends or to share intentions with partners in a joint endeavor? What are groups? What are institutional facts like money, universities, and cocktail parties? What are values and what role do values play in social reality? (shrink)

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 ...

The debate on human rights is one of the themes that Ricoeur discusses, in Oneself as Another, while examining the practical wisdom and the dialectic that characterizes it between “the requirement of universality” and “the recognition of contextual limitations”. This shows, above all, his awareness both of the difficulty and the importance of justifying the protection of fundamental freedoms and capacities, in particular considering the accusations of eurocentrism that this struggle has received. He was convinced that one cannot remain indifferent (...) to the “cry of the victims”: the constitutive vulnerability of human beings requires a defence which must cross the political borders. However, the concept of “humanity” in this context remains problematic, especially in a hermeneutical framework. In order to find a clearer foundation for this thesis, we will look for fruitful elements in a dialogue with Martha Nussbaum’s theory of “capabilities” and in Ricoeur’s early phenomenology of the will. (shrink)

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)

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)

Over the last few decades, the notion of improvisation has enriched and dynamized research on traditional philosophies of music, theatre, dance, poetry, and even visual art. This Handbook offers readers an authoritative collection of accessible articles on the philosophy of improvisation, synthesizing and explaining various subjects and issues from the growing wave of journal articles and monographs in the field. Its 48 chapters, written specifically for this volume by an international team of scholars, are accessible for students and researchers alike. (...) The volume is organized into four main sections: I. Art and Improvisation: Theoretical Perspectives II. Art and Improvisation: Aesthetic, Ethical, and Political Perspectives III. Improvisation in Musical Practices IV. Improvisation in the Visual, Narrative, Dramatic, and Interactive Arts Key Features: Treats improvisation not only as a stylistic feature, but also as an aesthetic property of artworks and performances as well as a core element of artistic creativity. Spells out multiple aspects of the concept of improvisation, emphasizing its relevance in understanding the nature of art. Covers improvisation in a wide spectrum of artistic domains, including unexpected ones such as literature, visual arts, games, and cooking. Addresses key questions, like: - How can improvisation be defined and what is its role in different art forms? - Can improvisation be perceived as such, and how can it be aesthetically evaluated? - What is the relationship between improvisation and notions such as action, composition, expressivity, and authenticity? - What is the ethical and political significance of improvisation? (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)