In this paper we will propose an empirical analysis of spatial and temporal boundaries. Unlike other proposals, which deal mainly with the commonsense level of the subject, we will ground our explication on well-established scientific practice and language. In this way we show how to reconsider in an innovative way questions such as the distinction between the bona fide boundaries and the fiat boundaries, the thickness and the ownership of the boundaries. At the same time we propose a division (...) between ex mensura boundaries and qui vulgo dicuntur boundaries. What is it, therefore,that divides the atmosphere from the water?[Leonardo da Vinci, Notebooks]. (shrink)

Our objective in this paper is twofold: first, we intend to address the tenability of the enactivist middle way between realism and idealism, as it is proposed in The Embodied Mind. We do so by taking the enactivist conception of bringing forth a world literally in three conceptual levels: enaction, niche construction and social construction. Based on this proposal, we claim that enactivism is compatible with the idea of an independent reality without committing to the claim that organisms have cognitive (...) access to a world composed of properties specified prior to any cognitive activity. Our second goal is to show that our literal interpretation of bringing forth a world not only sustains the legitimacy of the middle way, but it also allows us to revive the conception of evolution as natural drift—which is perhaps the least examined aspect of the original enactivist theory and is central to the understanding of cognition in an enactive way. Natural drift focuses on how structural couplings between organism and environment trigger viable pathways of maintenance and reproduction, instead of selecting the most adapted trait to a pregiven environment. Thus, although enactivists typically do not explore the consequences of their views regarding evolutionary dynamics, we show how natural drift provides a suitable starting point. (shrink)

Introduction to The Oxford Handbook of Phenomenological Psychopathology.

In this paper I propose to read and understand gestures as logical tools within a synthetic paradigm of knowledge. This interpretation of gesture is drawn from a new pragmatist reading of reasoning in general, and synthetic reasoning in particular. Complete gestures are actions with a beginning and an end that bear a meaning. It is our regular way to embody vague ideas into singular actions with general meaning. The tool is forged by a dense blending of icons, indices, and symbols (...) and by a complexity of phenomenological characteristics as feelings, actual actions, general concepts and habits. The paper illustrates this new way to look at gestures and different kinds of complete and incomplete gestures. (shrink)

In this study, we use temporally aligned word embeddings and a large diachronic corpus of English to quantify language change in a data-driven, scalable way, which is grounded in language use. We show a unique and reliable relation between measures of language change and age of acquisition (AoA) while controlling for frequency, contextual diversity, concreteness, length, dominant part of speech, orthographic neighborhood density, and diachronic frequency variation. We analyze measures of language change tackling both the change in lexical representations and (...) the change in the relation between lexical representations and the words with the most similar usage patterns, showing that they capture different aspects of language change. Our results show a unique relation between language change and AoA, which is stronger when considering neighborhood-level measures of language change: Words with more coherent diachronic usage patterns tend to be acquired earlier. The results support theories positing a link between ontogenetic and ethnogenetic processes in language. (shrink)

The problem of self-knowledge has been thoroughly discussed in the context of traditional epistemology. In parallel to the traditional approach to epistemology, Radically Embodied Cognitive Science (RECS) has emerged in the last 30 years as a genuine contender in its field. According to RECS, the unity of analysis of cognitive processes is the dynamics between brain, body and environment. In this paper, I advance a RECS approach to self-knowledge, which immediately suggests that knowing oneself is a matter of knowing what (...) one’s body can do. I then turn to resistance training, particularly weightlifting, and argue that it offers a paradigmatic case of self-knowledge in RECS’s terms. More precisely, resistance training allows the trainee to achieve knowledge of themselves in a fundamentally practical manner—and doing so is transformative of the kind of actions they are capable of. (shrink)

David Harvey : On peut difficilement imaginer vérification plus spectaculaire de ce que tu prédis depuis très longtemps dans tes théories que l’actuelle crise du système financier mondial. Y a-t-il des aspects de la crise qui t’ont surpris? Giovanni Arrighi : Ma prédiction était très simple. Dans The Long Twentieth Century, je qualifiais de crise annonciatrice d’un régime d’accumulation le début de la financiarisation et je faisais remarquer qu’après un certain temps – en général environ un demi-siècle – la (...) crise terminale suivait. L’hypothèse fondamentale est que toutes ces expansions financières ne pouvaient pas tenir parce qu’elles amenaient à la spéculation plus de capital qu’il n’était possible d’en gérer – en d’autres termes, ces expansions financières avaient tendance à créer des bulles de différentes sortes. Je prévoyais que cette expansion financière mènerait à une crise terminale parce que, aujourd’hui comme dans le passé, les bulles ne peuvent pas tenir. (shrink)

Some real life processes, including molecular ones, are context-sensitive, in the sense that their outcome depends on side conditions that are most of the times difficult, or impossible, to express fully in advance. In this paper, we survey and discuss a logical account of context-sensitiveness in molecular processes, based on a kind of non-classical logic. This account also allows us to revisit the relationship between logic and philosophy of science (and philosophy of biology, in particular).

The field of psychiatry has long struggled with developing models of practice; most underemphasize the interpersonal aspects of clinical practice. This essay is unique in putting intersubjectivity front and centre. It is an attempt to provide a clinical method to re-establish the fragile dialogue of the soul with oneself and with others.

This work addresses biological explanations and aims to provide a philosophical account which brings together logical-procedural and historical-processual aspects when considering molecular pathways. It is argued that, having molecular features as explananda, a particular non-classical logical language – Zsyntax – can be used to formally represent, in terms of logical theorems, types of molecular processes, and to grasp how we get from one molecular interaction to another, hence explaining why a given outcome occurs. Expressing types of molecular biology processes in (...) terms of the Zsyntax language allows us to represent causal interactions by taking into account their context-sensitivity, and amounts to partly reviving the spirit of the so-called received view of explanation – which aimed to capture scientific explanatory accounts in terms of their logical structure and their appealing to nomological relations. Such a partial revival is pursued by invoking here non-classical deductions and empirical generalisations, which are called to provide the epistemic norms to explain the behavior of molecular pathways. (shrink)

It is difficult to devise a new approach to any topic in Peirce scholarship, and it is also difficult to convincingly bring one to life. Tullio Viola's book, Peirce on the Uses of History, elegantly accomplishes this second trick, making it well worth reading. Viola is one of the many representatives of a new generation of Italian Peirce scholars who are connecting a solid philological and historical work about Peirce's writings with a vivid theoretical depth. Similar works by Chiara Ambrosio, (...) Francesco Bellucci, Maria Regina Brioschi, Claudia Cristalli, Gabriele Gava, Maria Luisi, and Marco Stango on various aspects of Peirce's thought testify to the vitality of studies inspired by this profound... (shrink)

This article presents Simondon’s psycho-biological thinking as a type of heterodox naturalism centring on the self-organizing activity of vital forms. Despite his critique of classic notions of form, notably Aristotelian hylomorphism, Simondon revises this concept through a critical expansion and synthesis of information theory and Gestalt psychology. In his lecture series Imagination and Invention (1965–6) in particular, he develops an account of psycho-biological activity as governed by what he calls ‘images’: relatively autonomous informational sub-systems that serve to regulate the relationship (...) between organism and environment and that constitute the condition for creative action or invention. Focusing on his analysis of the individualization of perceptual objects, the article goes on to show that ‘forms’ for Simondon feature as emergent properties of quantum thresholds of ‘information’ within these systems. It also argues that such a conception offers a more promising alternative to both idealist philosophies of perception and materialist interpretations of deconstruction. (shrink)

A realidade virtual tem se tornado cada vez mais presente, o que dá origem a novas questões filosóficas: qual a natureza de experiências em realidade virtual? Seriam elas exatamente como percepções usuais, ou elas possuem algum traço que as diferencia? Seriam ilusórias? Nós argumentamos que experiências em realidade virtual não devem ser tratadas como ilusórias, assim como defendido pela maioria dos teóricos contemporâneos, mas sim como alusórias, condicionadas à incorporação do hardware e ao conhecimento prático envolvido no uso da tecnologia. (...) Para tal, abordamos sua associação com ilusões, exploramos como se relacionam com as nossas experiências do cotidiano e apresentamos nossa proposta de que podem ser compreendidas como alusórias. Em seguida mostramos que seu caráter alusório não as torna indistinguíveis de experiências não-virtuais, uma vez que os limites biológicos e sensório-motores da cognição fornecem o limiar de diferenciação, mesmo nos casos de realidade aumentada. Além disso, exploramos o surgimento da tecnologia de realidade aumentada e discutimos a possibilidade de substituir sistematicamente a percepção por projeções ilusórias. No entanto, até o momento, não há evidências empíricas que sustentem essa possibilidade. Destacamos a importância da relação entre percepção e ação no ambiente físico e argumentamos que erros pontuais em experiências virtuais não caracterizam seu estado como ilusório. (shrink)

This guide accompanies the following article: Matthew Kieran, ‘Art, Morality and Ethics: On the (Im)moral Character of Art Works and Inter‐Relations to Artistic Value’. Philosophy Compass 1/2 (2006): pp. 129–143, doi: 10.1111/j.1747‐9991.2006.00019.x Author’s Introduction Up until fairly recently it was philosophical orthodoxy – at least within analytic aesthetics broadly construed – to hold that the appreciation and evaluation of works as art and moral considerations pertaining to them are conceptually distinct. However, following on from the idea that artistic value is (...) broader than aesthetic value, the last 15 years has seen an explosion of interest in exploring possible inter‐relations between the appreciative and ethical character of works as art. Consideration of these issues has a distinguished philosophical history but as the Compass survey article suggests (‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43), it is only very recently that figures in the field have returned to it to develop more precisely what they take the relationships to be and why. Consensus is, unsurprisingly, lacking. The reinvigoration of the issues has led sophisticated formalists or autonomists to mount a more considered defence of the idea that aesthetic and literary values are indeed conceptually distinct from the justification or otherwise of the moral perspective or views endorsed in a work (Topic I). The challenges presented by such a defence are many but amongst them are appeals to critical practice (Lamarque and Olsen), scepticism about whether or not art really can give us bona fide knowledge (Stolnitz) and the recognition that truth often seems to be far removed from what it is we value in our appreciation of works (Lamarque). One way to motivate consideration of the relevance of a work’s moral character to its artistic value concerns the phenomena of imaginative resistance. At least sometimes it would seem that, as Hume originally suggested, we either cannot or will not enter imaginatively into the perspective solicited by a work due to its morally problematic character (Topic II). In some cases, it would seem that as a matter of psychological fact, we cannot do so since it is impossible for us to imagine how it could be that a certain attitude or action is morally permissible or good (Walton). The question then is whether or not this is a function of morality in particular or constraints on imaginative possibility more generally and what else is involved. At other times, the phenomena seem to be driven by a moral reluctance to allow ourselves to enter into the dramatic perspective involved (Moran) or evaluation of the attitude expressed (Stokes). Nonetheless, it is far from obvious that this is so of all the attitudes or responses we judge to be morally problematic. After all, it looks like we can and indeed often do suspend or background particular cognitive and moral commitments in engaging with all sorts of works (Nichols and Weinberg). If the moral character of a work interacts with how we appreciate and evaluate them, then the pressing question is this: is there any systematic account of the relationship available to us? One way is to consider the relationship between our emotional responses to works and their moral character (Topic III). After all, art works often solicit various emotional responses from us to follow the work and make use of moral concepts in so doing (Carroll). Indeed, whether or not a work merits the sought for emotional responses often seems to be internally related to ethical considerations (Gaut). Yet, it is not obvious that we should apply our moral concepts or respond emotionally in our imaginative engagement with works as art as we should in real life (Kieran, Jacobson). A different route is via the thought that art can convey knowledge (Topic IV). There might be particular kinds of moral knowledge art distinctively suited to conveying (Nussbaum) or it may just be that art does so particularly effectively (Carroll, Gaut, Kieran). Either way where this can be tied to the artistic means and appreciation of a work it would seem that to cultivate moral understanding contributes to the value of a work and to betray misunderstanding is a defect. Without denying the relevance of the moral character of a work some authors have wanted to claim that sometimes the immoral aspect of a work can contribute to rather than lessen its artistic value (Topic V). One route is to claim that there is no systematic theoretical account of the relationship available and what the right thing to say is depends on the particular case involved (Jacobson). Another involves the claim that this is so when the defect connects up in an appropriate way to one of the values of art. Thus, it has been claimed, only where a work reveals something which adds to intelligibility, knowledge or understanding in virtue of its morally problematic aspect can this be so (Kieran). The latter position looks like it could in principle be held whilst nonetheless maintaining that the typical or standard relationship is as the moralists would have it. Yet perhaps allowing valence change for such reasons is less a mark of principled explanation and more a function of downright inconsistency or incoherence (Harold). The topics themselves and suggested readings given below follow the structure articulated above as further amplified in the Compass survey article. The design and structure given below can be easily compressed or expanded further. Author Recommends 1 Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 126–60. 2 This article develops the idea that engaging with narrative art calls on moral concepts and emotions and can thereby clarify our moral understanding. 2 Carroll, Noël. Beyond Aesthetics: Philosophical Essays. Cambridge: Cambridge UP, 2009. 4 Part IV consists of six distinct essays on questions concerning the inter‐relations between art and morality including the essay cited above and the author’s articulation and defence of moderate moralism. 3 Gaut, Berys. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. 4 Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. 7 This monograph provides the most exhaustive treatment of the issues and defends the claim that, where relevant, whenever a work is morally flawed it is of lesser value as art and wherever it is morally virtuous the work’s value as art is enhanced. Chapters 7 and 8 defend concern ethical knowledge and chapter 10 is a development of the article cited above concerning emotional responses. Chapter 3 also gives a useful conceptual map of the issues and options in the debate. 5 Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. 9 A wide ranging and extended treatment of relevant issues which objects to generalising moral treatments of our responses to art works and defends the idea that particular works can be better because of rather than despite their moral defects. 6 Kieran, Matthew. ‘Forbidden Knowledge: The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. 11 A general argument for immoralism is elaborated by outlining when, where and why a work’s morally problematic character can contribute to its artistic value for principled reasons (through enhancing moral understanding). 7 Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. 13 This chapter argues against both aestheticism and straightforward moralism about art, elaborating a defence of immoralism in relation to visual art whilst ranging over issues from pornographic art to the nature and demands of different genres in art. 8 Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’ Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. 15 This article concisely outlines and defends a sophisticated aestheticism that denies the importance of truth to artistic value. 9 Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. 17 This article articulates and defends the claim that no knowledge of any interesting or significant kind can be afforded by works appreciated and evaluated as art. 10 Walton, Kendall. ‘Morals in Fiction and Fictional Morality, I.’Proceedings of the Aristotelian Society, Suppl. 68 (1994): 27–51. 19 This article builds on some comments from Hume to develop the idea that when engaging with fictions it seems impossible imaginatively to enter into radically deviant moral attitudes. Online Materials ‘Aesthetics and Ethics: The State of the Art.’American Society of Aesthetics online (Jeffrey Dean):. ‘Art, Censorship and Morality’ downloadable podcast of Nigel Warburton interviewing Matthew Kieran at Tate Britain (BBC/ou Open2.net as part of the Ethics Bites series):. ‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43 (Matthew Kieran):. ‘Ethical Criticism of Art.’Internet Encyclopedia of Philosophy (Ella Peek):. ‘Fascinating Fascism.’New York Review of Books Piece Discussing Leni Riefenstahl (Susan Sontag):. ‘The Beheading of St. John the Baptist (1450s), Giovanni de Paolo’ (Tom Lubbock):. Vladimir Nabokov and Lionel Trilling discuss Lolita (CBS):. Sample Syllabus Topic I Autonomism/aestheticism • Anderson, James C. and Jeffrey T. Dean. ‘Moderate Autonomism.’British Journal of Aesthetics 38.2 (1998): 150–66. • Beardsley, Monroe. Aesthetics: Problems in the Philosophy of Criticism. New York: Harcourt, Brace and World, 1958. Chapter 12. • Kant, Immanuel. The Critique of Judgement.Trans. James Creed Meredith. Oxford: Oxford UP, 1952 [1790]. • Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. • ——. ‘Tragedy and Moral Value.’Australasian Journal of Philosophy 73.2 (1995): 239–49. • Lamarque, Peter and Stein Olsen. Truth, Fiction and Literature. Oxford: Clarendon Press, 1994. Chapter 10. • Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. Topic II Imaginative Capacities, Intelligibility and Resistance • Moran, Richard. ‘The Expression of Feeling in Imagination.’Philosophical Review 103.1 (1994): 75–106. • Nichols, Shaun. ‘Just the Imagination: Why Imagining Doesn’t Behave Like Believing’. Mind & Language 21.4 (2006): 459–74. • Stokes, Dustin. ‘The Evaluative Character of Imaginative Resistance’. British Journal of Aesthetics 46.4 (2006): 387–405. • Tanner, Michael. ‘Morals in Fiction and Fictional Morality, II’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 51–66. • Walton, Kendall (1994). ‘Morals in Fiction and Fictional Morality, I’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 27–51. • Weinberg, Jonathan. ‘Configuring the Cognitive Imagination.’New Waves in Aesthetics. Eds. K. Stock and K. Thomson‐Jones. London: Palgrave Macmillan, 2008. 203–23. Topic III Moralism and Emotions • Carroll, Noël. ‘Moderate Moralism.’British Journal of Aesthetics 36.3 (1996): 223–37. • Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998.126–60. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapter 10. • ——. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. • Hume, David. ‘Of the Standard of Taste.’Selected Essays. Oxford: Oxford UP, 1993 [1757]. 133–53. • Kieran, Matthew. ‘Emotions, Art and Immorality.’Oxford Handbook to the Philosophy of Emotions. Ed. Peter Goldie. Oxford: Oxford UP, 2009. 681–703. • Tolstoy, Leo. What is Art?. London: Penguin, 2004. Chapters 5 and 15. Topic IV Moralism and Knowledge • Aristotle. Poetics. Trans. M. Heath. London: Penguin, 1996 [367–322 BC]. • Carroll, Noël. ‘The Wheel of Virtue: Art, Literature and Moral Knowledge.’Journal of Aesthetics and Art Criticism 60.1 (2002): 3–26. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapters 7 and 8. • Gaut, Berys. ‘Art and Cognition.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 115–26. • Kieran, Matthew. ‘Art, Imagination and the Cultivation of Morals.’Journal of Aesthetics and Art Criticism 54.4 (1996): 337–51. • Nussbaum, Martha. ‘Finely Aware and Richly Responsible: Literature and the Moral Imagination.’Love’s Knowledge. New York: Oxford UP, 1990. 148–68. • Plato. The Republic. Trans. D. Lee. Harmondsworth: Penguin, 1974. Book 10. Topic V Immoralist Contextualism • Harold, James. ‘Immoralism and the Valence Constraint.’British Journal of Aesthetics 48.1 (2008): 45–64. • Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. • ——. ‘Ethical Criticism and the Vices of Moderation.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 342–55. • John, Eileen. ‘Artistic Value and Moral Opportunism.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 331–41. • Kieran, Matthew. ‘Forbidden Knowledge:The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. • Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. • Patridge, Stephanie. ‘Moral Vices as Artistic Virtues: Eugene Onegin and Alice.’Philosophia 36.2 (2008): 181–93. Focus Questions 1 What is the strongest argument for the claim that the moral character of a work is not relevant to its artistic value? Does artistic or literary criticism tend to concern itself with the truth or morality of works? If so, in what ways? If not, why do you think this is? 2 What different explanations might there be for difficulty with or resistance to imaginatively entering into attitudes you take to be immoral? How might this relate to the way our imaginings work as contrasted with belief? How might different literary or artistic treatments of the same subject matter make a difference? 3 How do narrative works draw on our moral concepts and responses? Can we suspend our normal moral commitments or application of moral concepts in responding emotionally to art works? Should we respond emotionally to art works as we ought to respond to real world events we witness? Why? Why not? 4 How, if at all, do art works convey moral understanding? How, if at all, is this related to the kinds of moral knowledge art works can teach or reveal to us? When, where and why might this be tied to the artistic value of a work? How can we tell where a work enhances our moral understanding as opposed to misleading or distorting it? 5 What art works do you value overall as art which commend or endorse moral values and attitudes that you do not? Is appreciation of them always marred or lessened by the morally dubious aspect? If not, what explains the differences in evaluation? What, if anything, might you learn by engaging with works which endorse moral attitudes or apply moral concepts different from those you take to be justified? How, if at all, might this connect up with what makes them valuable as art? (shrink)

Negli ultimi anni di vita Giovanni Gentile aveva in progetto una Storia della Filosofia che abbracciasse tutta la materia dalle origini ai giorni nostri. La morte tragica nel 1944 non gli permise di portare a compimento l'opera, che si ferma a Platone: ritrovata tra le sue carte, è stata ricostruita e pubblicata postuma. Pur incompleta, rappresenta un'accurata panoramica del pensiero greco antico, a partire dai filosofi naturalisti fino ai presocratici e ai capisaldi Socrate e Platone, tramite una scrittura appassionata, (...) al tempo stesso accessibile e ricca di dettagli. (shrink)

Wittgenstein’s ideas are a common ground for developers of Natural Language Processing (NLP) systems and linguists working on Language Acquisition and Mastery (LAM) models (Mills 1993; Lowney, Levy, Meroney and Gayler 2020; Skelac and Jandrić 2020). In recent years, we have witnessed a fast development of NLP systems capable of performing tasks as never before. NLP and LAM have been implemented based on deep learning neural networks, which learn concepts representation from rough data, but are nonetheless very effective in tasks (...) such as question answering, textual entailment, and translation (Devlin et al. 2019; Kitaev, Cao and Klein 2019; Wang et al. 2019). In this paper, I will debate some Wittgensteinian concepts that impact the architectures of many NLP deep-learning systems. I will focus, in particular, on the attempt to build a specific kind of architecture to model a private language. The discussion, I think, helps extract philosophical assumptions leading the research and development of AI systems capable of language modelling. In this paper, I will address some of the main features of NLP systems2 used for word embedding and one proposal to manipulate through a neural network a form of private language (Lawney et al. 2020). In §2, I will reconstruct the complex path of the private language argument (PLA). In §3, I will discuss connectivist language models and introduce notions about NPL systems' architecture. An overview of this kind of model is helpful to introduce the work of Lowney, Levy, Meroney and Gayler (2020). They submit that their model can respond to the issues raised by Wittgenstein in the notorious Private Language Argument (PLA). This argument unexpectedly turned out to be relevant not only for the philosophy of language but also for NLP and LAM modellers. I will describe the language game concept in NLP, how it is embedded, and its role in inductive systems development. This central concept in Wittgenstein’s work is relevant to describe the role of context in understanding the meanings of words. In §4, I present the Wittgensteinian main concepts in play in the connectivist paradigm. I argue that the connectionist theoretical framework can better catch the dependency of word meaning on context. There seems to be a correlation between Wittgenstein's invitation to look, an invitation to dismiss the aim of theorizing about languages, and the absence of theory-ladenness in deep learning technologies involved in NLP. In §5, I criticize Lowney and colleagues’ claim, whose model does not successfully capture Wittgenstein’s Beetle in the Box case. Moreover, I argue that even if we can distinguish a strong and a weak definition of a private language, Wittgenstein’s argument also holds for deep-learning models, and his worries are still a good guide for NLP developers. (shrink)

Il percorso di Rosa Calcaterra all’interno della filosofia pragmatista è segnato da un’intuizione principale e originale: nonostante tutte le differenze, il progetto pragmatista è unitario. Gli articoli della raccolta Il progetto comune dei pragmatisti mostrano questa unitarietà, che Calcaterra persegue con tecnica sofisticata, facendo emergere non solo ciò che la parola dice, ma anche ciò che essa tradisce. Prima di immergersi nelle pagine del libro e rivolgere all’autrice alcune domande che...

By foregrounding a first-person perspective, this text enacts and explores self-reflection as a mode of inquiry in educational research and highlights the centrality of the individual researcher in the construction of knowledge. Engaging in particular with the work of Thomas Merton through a dialogical approach to his writings Self and Wisdom in Arts-Based Contemplative Inquiry in Education offers rich examples of personal engagement with text and art to illustrate the pervasive influence of the personal in reflective, narrative, and aesthetic forms (...) of inquiry. Chapters considers methodological and philosophical implications of self-study and contemplative research in educational contexts, and show how dialogic approaches can enrich empirical forms of inquiry, and inform pedagogical practice. In its embrace of a contemplative voice within an academic treatise, the text offers a rich example of arts-based contemplative inquiry. This unique text will be of interest to postgraduate scholars, researchers, and academics working in the fields of educational philosophy, arts-based and qualitative research methodologies, and Merton studies. (shrink)

Il sense comune nella storia della filosofia -- Il contenuto del senso comune in Jacques Maritain -- Maritain vs le dottrine che rifiutano il senso comune -- Senso comune e filosofia -- Appendice I. Senso comune e fede nella Rivelazione -- Appendice II. Sulla conoscenza dell'essere. L'"esistenzialismo di" J. Maritain.

Prolusione: A servizio dell'uomo, di G. Urbani.--L'uomo nella filosofia, di P. Prini.--L'uomo nella sociologia, di A. Grumelli.--L'uomo nella psicologia, di L. Ancona.--L'uomo nell'arte, di P. Bruzzichelli.--L'uomo nella teologia, di D. Grasso.--L'uomo nella Chiesa, di F. Weber.

In Novatian’s De Trinitate there is a passage which, while it makes a reference to an “invidia mortalitatis”, has been to some extent the torment of editors and of translators. On the one hand, the genitive tends mostly to be read as objective, on the other, the text is manipulated at times (even in recent editions) on the basis of a lectio facilior derived from conjecture. The article summarizes the history of criticism relative to the above-mentioned passage, highlighting some of (...) its limits. From there it searches for historical-philological bases of a reading of the passage in which the genitive is understood as subjective. The evidence gathered seems to point to an Origenist source, and that would lean us toward welcoming the invitation, already formulated by Manlio Simonetti, to new research inNovatian and his sources. (shrink)

This essay is unique in putting intersubjectivity front and center. It is an attempt to provide a clinical method to re-establish the fragile dialogue of the soul with oneself and with others. Throughout, the book builds on the assumption that to be human means to be in dialogue. It uses dialogue as a unitary concept to address three essential issues for clinical practice: 'What is a human being?', 'What is mental pathology'?, and 'What is care?'. To be human - it (...) is argued - means to be in dialogue with oneself and with other persons. Thus, mental pathology is the interruption of this dialogue - of the person with the alterity that inhabits them, and with the alterity incarnated in other persons. Therefore, therapy is a dialogue with a method whose aim is to re-enact one's interrupted dialogue with alterity. Lost in Dialogue provides a method to approximate the Other, to understand its experiences, actions, and in general, understand the world in which it lives. (shrink)