Rodolfo Sacco developed the idea of “mute behaviours” during his studies on mute law. The notion of “mute behaviours” denotes an action that is able to mould a legal relationship without any use of language. Certainly, this concept may give rise to some doubts in relation to the attribution—to a behaviour qualified as mute—of the capability to affect dynamics involving a plurality of people. Aiming to clarify the idea of “mute behaviours” by this point of view, the authors analysed the (...) semiotic terminology used by Sacco himself to explain this notion and the issue of its silent nature. Therefore, the terms “signifying signs” and “symptoms”, deemed by Sacco—respectively—incompatible and compatible with the theory of mute behaviours were considered. The former term was traced back to the notion of conventional and arbitrary sign, the notion of the latter was reconstructed linking it to the concept of signs based on signification and suggesting a possible framework in view of the idea of “presentative meanings” developed by the philosopher Guido Morpurgo-Tagliabue. Clarified this dichotomy by a terminological analysis, the authors noticed—as affirmed by Rodolfo Sacco himself—the impossibility to ascribe the notion of gesture to the mute behaviour’s category, as some exegetes proposed. Consequently to this last remark, the authors tried to analyse the relationship between gestures and “mute behaviours”, identifying the category of “sema-pragmatic acts”, that includes gestures and may be seen as an intermediate phase between “mute behaviours” and legally relevant behaviours operated by speaking. (shrink)

In public political deliberation, people will err and lie in accordance with definite patterns. Such discourse failure results from behavior that is both instrumentally and epistemically rational. The deliberative practices of a liberal democracy cannot be improved so as to overcome the tendency for rational citizens to believe and say things at odds with reliable propositions of social science. The theory has several corollaries. One is that much contemporary political philosophy can be seen as an unsuccessful attempt to vindicate, on (...) symbolic and moral grounds, the forms that discourse failure take on in public political deliberation. Another is that deliberative practices cannot be rescued even on non-epistemic grounds, such as social peace, impartiality, participation, and equality. To alleviate discourse failure, this book proposes to reduce the scope of majoritarian politics and enlarge markets. (shrink)

This paper provides a thorough analysis of two often informally stated claims. First, successful argumentation in the sense of persuasive argumentation requires agreement between the interlocutors about the rationality of arguments. Second, a general agreement about rationality of arguments cannot itself be established via argumentation, since such an attempt leads to an infinite meta‐regress. Hence, agreement about the rationality of arguments is a precondition for successful argumentation. As the paper argues, these plausible claims hold under the assumption that interlocutors are (...) subjectively rational and follow their own standards of rationality when engaging in argumentation. (shrink)

In the first part of this critical study on Herman De Dijn’s Vloeibare waarden, I offer a concise presentation of the central ideas in this book against the backdrop of Zygmunt Bauman’s view of late modernity. In the second part, I try to characterize De Dijn’s so-called conservatism with the assistance of a few quotations from the work of Leszek Kolakowski, a Polish philosopher with whom De Dijn feels congenial. In the third part, I make two critical observations concerning De (...) Dijn’s position in his book. Finally, I make a passing remark as to the philosophical importance of what Hannah Arendt calls ”dangerous thinking’. (shrink)

In this paper, we introduce the methodology and techniques of meta-argumentation to model argumentation. The methodology of meta-argumentation instantiates Dung’s abstract argumentation theory with an extended argumentation theory, and is thus based on a combination of the methodology of instantiating abstract arguments, and the methodology of extending Dung’s basic argumentation frameworks with other relations among abstract arguments. The technique of meta-argumentation applies Dung’s theory of abstract argumentation to itself, by instantiating Dung’s abstract arguments with meta-arguments using a technique called flattening. (...) We characterize the domain of instantiation using a representation technique based on soundness and completeness. Finally, we distinguish among various instantiations using the technique of specification languages. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 295 A study of Heidegger faces serious difficulties, for Heidegger is a difficult philosopher to comprehend. It is all too easy to fall into an oracular mode of presentation and to become obscure in that needless way of which one suspects Heidegger himself on many occasions. Seidel avoids these dangers admirably. His is a clear and careful, reasoned and unassuming account of Heidegger's views concerning the pre-socratics (...) and the historical fate of Being. His book should be a help to the scholar of Heidegger's thought and a stimulating, though perplexing, introduction to his philosophy. If it fails in the ways I have mentioned, it succeeds in many more ways than I have had the space to mention. It is a positive contribution to the literature concerning Iteidegger. STEPI-IEI~"A. ERICKSOR" Pomona College FiIosofia dell'arte. By Nicola Petruzzellis. Terza edizione riveduta ed accresciuta. (Napoli, Libreira Scientifica Editrice, 1964. I6~ pp. 642.) E' una terza edizione ma in cui l'ampiezza delle aggiunte ~ tale da far sl che non si possa parlare di un rifacimento soltanto perch~ i criter~ fondamentali dell'indagine tentata dall'autore (ed integrata dal felice volume su L'estetica dell'idealismo) sono rimasti gli stessi. Ma quello che prima era soltanto un motivo tematico s'~ sviluppato in una vogorosa e posscnte sinfonia, specie se ci si riferisce al panorama dell'estetica contemporanea, che, con ampiezza di vedute e spregiudicata freschezza d'informazione---integrando e continuando le note storie dell'estetica e della critica dello Zimmermann, dello Schlaser, del Bosanquet, del Croce e del Wellek--il Petruzzellis traccia all'inizio del libro "I1 panorama dell'estetica contemporanea, col quale si apre il volume---avverte--non vuol essere un'esposizione manualistica, e tanto meno un repertorio bibliografico pifl o meno completo, ma uno strumento d'indagine.... e vuo|e altresl fornire all'attento lettore le ragioni storiche e critiche deUe posizioni conclusive alle quali siamo pervenuti e dei consensi e dissensi in esse impliciti" (p. 6). II quadro ~ davvero completo, non solo in riferiment~ all'Italia, ch~ l'autore felicemente riassume e criticamente definisce, rendendo giustizia alle legittime esigenze di ognuno, le ricerche estetiche de Croce e Gentile, di Carlini e di Guzzo, di Stefanini e di Aliotta, di Rensi e di Baratono, di Carbonara e di Della Volpe. Il Petruzzellis 6 e~uriente anche circa le analisi sottili (che si ricoUegano all'esttismo ed al moralismo di SSren Kirkegaard) condotte intorno all'arte da Martin Heidegger e da Karl Jaspers, da Gabriel Marcel e da Jean Paul Sartre, mentre acutamente illustra quelle--ispirate ad un esistenzialismo positivo--di Nicola Abbagnano. Meno note le concezioni estetiche di Nicolai Hartmann e quelle fenomenologiche del Banff, del Morpurgo Tagliabue e del Dufrenne, sicch~ si deve dar atto al Petruzzellis della benemerenza d'averle minutamente illustrate, cosl come ha fatto con il problematicismo estetico di Ugo Spirito e del suo discepolo Armando Plebe. Sottilissima ~ poi l'analisi dei riflessi sulla filosofia dell'arte di correnti speculative ehe oggi (forse ~ effetto di moda) occupano, dal neoempirismo al marxismo, il palcoscenico culturale. Ms se tall correnti si agitano e si dimenano con notevole fracas~o in altri campi, penetrano solo furtivamente nel giardino delle Muse. Percib c'~ voluta tutta la paziente intelligenza del Petruzzellis per presentarci le riflessioni sull'arte (assai poco divulgatc specie in Italia) di John Dewey, di I. A. Richards, di Charles Morris, di B. C. Heyl, di Ernest Cassirer, di Susanne K. Langer e di GySrgy Luke. Quest'ultimo, in veritY, a differenza dei precedenti (mi riferisco sempre al solo lato estetico), ~ alquanto famoso, peraltro in effetti mal noto, ch~ la sua fortuna, dovuta prevalentemente a contingenti motivi politici, fa sl ch'egli sia pi~ citato che effettivamente letto. Un posto particolare in questo gran quadro il Petruzzellis assegna poi alle indagini semantiche di Guido Calogero e soprattuito a quelle penetranti ed acutissime di Antonino 296 HISTORY OF PHILOSOPHY Pagliaro, mentre sviscera con intelletto d'amore il contributo estetico arrecato da grandi contemporanei ispiratisi alla Scolastica quali Maritain, Petit e Gilson. Quest'adesione alle loro vibrazioni spirituali ci svela il profondo motivo animatore di questa: Filosofia d;ell'arte che scritta "nel momento pi... (shrink)

Appreciating human movement can be a powerful aesthetic experience. We have used apparent biological motion to investigate the aesthetic effects of three levels of movement representation: body postures, movement transitions and choreographic structure. Symmetrical and asymmetrical sequences of apparent movement were created from static postures, and were presented in an artificial grammar learning paradigm. Additionally, “good” continuation of apparent movements was manipulated by changing the number of movement path reversals within a sequence. In an initial exposure phase, one group of (...) participants saw only symmetrical sequences, while another group saw only asymmetrical sequences. In a subsequent test phase, both groups rated all sequences on an aesthetic evaluation scale. We found that posture, movement, and choreographic structure all influenced aesthetic ratings. Separate ratings for the static body postures presented individually showed that both groups preferred a posture that maximized spatial symmetry. Ratings for the experimental sequences showed that both groups gave higher ratings to symmetrical sequences with “good” continuation and lower ratings to sequences with many path reversals. Further, participants who had been initially familiarized with asymmetrical sequences showed increased liking for asymmetrical sequences, suggesting a structural mere exposure effect. Aesthetic preferences thus depend on body postures, apparent movement continuation and choreographic structure. We propose a hierarchical model of aesthetic perception of human movement with distinct processing levels for body postures, movements and choreographic structure. (shrink)

Concept eliminativists argue that we should eliminate the term ‘concept’ from our vocabulary in psychology because there is no single natural kind that is picked out by it. I argue that the most developed version of concept eliminativism by Edouard Machery depends on the assumption that concepts are defined as stable and context-independent bodies of information. It is this assumption that leads Machery to eliminativism and it is an assumption we have reason to reject. Another assumption that leads to the (...) eliminativist conclusion and that we have reason to reject is that the type of content represented in long-term memory is the relevant property based on which we should individuate certain natural kinds in cognitive psychology. Finally, I argue that certain pieces of information are functionally integrated enough to meet the conditions for being a natural kind. (shrink)

The conceptualization of the lifeworld of any species includes a reformation of the matter found in the environment into concepts which make up the species-specific Umwelt. This paper argues that the human agency in conceptualising the Umwelt necessarily transforms what we usually call “nature” into so-called “culture”. Ultimatively, this human activity has two consequences which we cannot escape, but which have an influence not only on our perception of the environment, but also on our theorising about what has been called (...) the “nature-culture divide”, the “semiotic threshold” respectively: First, any environmental perception is at once conceived of in cultural terms. Second, whatever “nature” may be, our including it into the cultural discourse removes it from our immediate cognition. (shrink)