The paper discusses the philosophy of language and communication based on Immanuel Kant’s transcendental method. Firstly, the basic assumptions of methodical rationalism are presented. Subsequent sections analyse Kant’s intellectual successors: Wilhelm von Humboldt and Ernst Cassirer. Both the intellectuals adopted Kant’s point of views and both treated language as an active, cultural factor participating in the creation of reality. The article ends with a suggestion that the transcendental approach will be present in the 21th-century researches on language and communication.

Anti‐intellectualists about knowledge‐how insist that, when an agent S knows how to φ, it is in virtue of some ability, rather than in virtue of any propositional attitudpaes, S has. Recently, a popular strategy for attacking the anti‐intellectualist position proceeds by appealing to cases where an agent is claimed to possess a reliable ability to φ while nonetheless intuitively lacking knowledge‐how to φ. John Bengson and Marc Moffett and Carlotta Pavese have embraced precisely this strategy and have thus claimed, for (...) different reasons, that anti‐intellectualism is defective on the grounds that possessing the ability to φ is not sufficient for knowing how to φ. We investigate this strategy of argument‐by‐counterexample to the anti‐intellectualist's sufficiency thesis and show that, at the end of the day, anti‐intellectualism remains unscathed. (shrink)

The question of whether food is art depends primarily on the definition of art that we agree to accept. The article proposes a model that helps us to focus our mind on what could be, and how we should understand the art of food, if we accept, having applied a fairly liberal theory of art, that food can actually be art. It is argued that there are no methodological or factual constraints indicating that food could not, under some circumstances, be (...) high art. This hypothetical form of art is called ‘edible art’. (shrink)

This paper is an introduction for the special issue of “Rivista di estetica” devoted to the role of ontology in contemporary aesthetics and philosophy of art. It describes the most dominating trends within current ontological inquiry in aesthetics and philosophy of art as well as presents papers collected in the issue.

In the paper, classical assumptions of the problem of change are presented and analyzed. The author considers following assumptions which make theses about: (i) identity and persistence through time; (ii) a conceptual change; (iii) intrinsic properties; and (iv) the Leibniz's Law. In the light of the analyses, it is shown that the problem of change does not have substantial nature and therefore cannot be treated as legitimization of the theories of persistence. Finally, the author acknowledges a relationship between the rethought (...) matter of change and the theories of persistence. (shrink)

The aim of the studies was to ascertain how far psychology students are ready to learn the vocation of education assistants to children and youth. Four general ways of acquiring knowledge and skills - by assimilation, by doing, by discovering, and by impression - were distinguished and interpreted with regard to the students’ prospective employment in educational institutions. Learning by doing and by impression turned out to be more expressive in the student self-reports than learning by assimilation and by discovering. (...) A proof that the Nosal/paluchowski typology of diagnosticians applies to psychology students was also in search. However, the pertinent Educational Diagnostician Inventory appeared satisfactorily valid only for those psychology sophomores who manifested the best-shaped attitudes towards educational diagnoses. They belonged mostly to concrete-objective and global-subjective attitude categories. Transactional analysis partly supported these findings of the survey. (shrink)

Thomas Hobbes in Leviathan presented a paradigm of the social contract that has proven foundational in Western political thought. A proper understanding of the philosopher’s thought is thus of paramount importance. I argue that today’s case for a religiously tolerant Hobbes has missed an important part of the historical record. I first consider an obscure but important document, the second edition of the Humble Proposals. It demonstrates that leading members of a seventeenth century Christian denomination, the Independents, considered a state-enforced (...) confession of faith. Independents are generally seen as tolerant, and one of the arguments for Hobbesian toleration is that Hobbes endorsed them. But the second edition of the Humble Proposals aligns with the possibility in Hobbes that the civil sovereign will impose part III of Leviathan on the Universities and treat its contents as a legally required confession of faith – one that may be necessary for security, and the avoidance of civil war. Hobbes’s endorsement of Independency alone cannot be used to argue that his work leads to religious toleration. The evidence I present reinforces an earlier assessment and alongside other evidence points to the return of the intolerant Hobbes. (shrink)

The article aims to frame the issue of authenticity regarding street artworks. By introducing and analyzing the concept of artification, which refers to the situation when non-art is modified by art, I argue that street art manifests its authenticity through transforming the space around particular artworks. This transformation amounts to two facts: sanctioning certain practices which change our perception of the urban environment, and creating new aesthetic objects which are art-like.

The aim of this paper is to argue that proper artistic failure may turn out to be artistically appreciated and even considered as artistically successful. A set of arguments is provided in order to overcome intentionalism, the widely accepted view according to which an artist’s intentions fix the artwork’s meaning. Instead, we propose and elaborate an alternative model: emergentism of artistic meaning and value. Emergentism explains how artistic failure can turn out to be artistically successful. That is, artworks may succeed (...) despite the failure of the realization of artistic intentions. It is argued that such a rehabilitation of artistic failures, perceiving them as not necessarily doomed, paves the path for experiencing failures as not merely failures. The paper suggests that under defined circum- stances it is possible to receive aesthetic satisfaction from failures. Moreover, the possibility of treating failures as valuable, yet risky, artistic strategy is suggested. (shrink)

Most comparisons of Thomas Hobbes and Baruch Spinoza focus on the difference in understanding of natural right. We argue that Hobbes also places more weight on a rudimentary and exclusive education of the public by the state. We show that the difference is related to deeper disagreements over the prospect of Enlightenment. Hobbes is more sanguine than Spinoza about using the state to make people rational. Spinoza considers misguided an overemphasis on publicly educating everyone out of superstition—public education is important, (...) but modes of superstition may remain and must be offset by institutions and a civil religion. The differences are confirmed by Spinoza’s interest in the philosopher who stands apart and whose flourishing may be protected, but not simply brought about, by rudimentary public education. Spinoza’s openness to a wisdom-loving elite in a democracy also sets up an interesting parallel with Thomas Jefferson’s own commitment to the natural aristocracy needed to sustain republicanism. In demonstrating the 17th century philosopher’s skepticism toward using the state exclusively to promote rationality, even as he recognizes the importance of a sovereign pedagogical role and the protection of philosophy, we move to suggest that Spinoza is relevant to contemporary debates about public education and may reinvigorate moral and political discourse in a liberal democracy. (shrink)

The aim of this paper is to sketch a framework for perceiving the act of consumption as an aesthetic phenomenon. I shall argue that, under some circumstances, it is possible to receive aesthetic satisfaction from the act of eating food, in which the object of one’s appreciation is, for the most part, considered separately from what is actually eaten. I propose to call such a process “aesthetic eating” and argue that due to its aesthetic autonomy it might be a potential (...) factor in enjoying certain kinds of food. This phenomenon is apparent in the case of the types of food that are acquired tastes. It is plausible that distinguishing the aesthetic pleasures of food from the ones associated with the act of eating can not only enrich our aesthetic life but also deepen the aesthetics of our overall gustatory experience. (shrink)

Joseph Maria Hoene Wroński, mathematician and philosopher of Slavonic descent, is author of numerous work written in French, which, as he supposed, could have incited a renewal of human knowledge, and could also point the way to better living of humanity.

The article seeks to explain what it means to say that an object has the status of being made art-like. I have reconstructed and analysed Ossi Naukkarinen and Yuriko Saito’s definition of artification and flagged up its methodological limitations. My conclusions serve as a starting point for describing the nature of artified objects, the way they are individuated, and how they persist. I consider the question of what can and what cannot be artified. Finally, I propose that artification be redefined (...) in such a way as to render it informative on the grounds of the largest number of existing aesthetic theories of art. (shrink)