According to a recent theory of the motivational content of self-deception, the self-deceiver wants to be in a state of mind of belief that p, upon which her want that p be true would be merely contingent. While I agree with Funkhouser that the self-deceiver is considerably moved by an interest in believing that p, which makes it possible for her to relate to reality in a highly prejudiced way, I will argue that it is unlikely that the self-deceiver’s primary (...) want to believe, or interest in believing that p occurs as the result of a merely contingent interest in p being true. I will finally assess various consequences of the view I favor, regarding the self-deceiver’s avoidance behaviour, “twisted” self-deception, and whether we should provide a unifying account of “straight” and “twisted” self-deception. (shrink)

Music-Dance explores the identity of choreomusical work, its complex authorship and its modes of reception as well as the cognitive processes involved in the reception of dance performance. Scholars of dance and music analyse the ways in which a musical score changes its prescriptive status when it becomes part of a choreographic project, the encounter between sound and motion on stage, and the intersection of listening and seeing. As well as being of interest to musicologists and choreologists considering issues such (...) as notation, multimedia and the analysis of performance, this volume will appeal to scholars interested in applied research in the fields of cognition and neuroscience. The line-up of authors comprises representative figures of today's choreomusicology, dance historians, scholars of twentieth-century composition and specialists in cognitive science and performance studies. Among the topics covered are multimedia and the analysis of performance; the notational practice of choreographers and the parallel attempts of composers to find a graphic representation for musical gestures; and the experience of dance as a paradigm for a multimodal perception, which is investigated in terms of how the association of sound and movement triggers emotions and specific forms of cognition. (shrink)

This article addresses the questions “why do we still have to read Kant today?”, “what kind of responses can he give us in the era of global terrorism?”. In other terms, today, “What does it mean to orient oneself in thinking?”. Because his concept of renewed religious laity, distant from both fanatic fundamentalism and indifferent secularism, becomes the compass we can only rely on and authentically trust in the relationship with the other. Issues identified on reading the interesting kantian work, (...) studied during the last academic year and discussed in the meeting of the 17th March 2017 between Liceo Classico “La Farina” and DICAM of the University in Messina, in the context of the project Tradition and Contemporaneity, set by the Italian Philosophical Society (SFI). (shrink)

È la morte la cartina al tornasole che rivela l’atteggiamento esistenziale che si concretizza nel rapporto con l’altro. Dal modo in cui la si valuta, e, conseguentemente, dal modo in cui si vive, dipende il grado di autenticità della propria esistenza. Per argomentare la suddetta tesi ricorreremo al racconto di Tolstòj La morte di Ivàn Il’íc.

Issues relating to the migration of entire populations and to religious and political integralism have thrown the paradigm of ‘inclusion’ into crisis by challenging the already fragile equilibrium. This necessitates a push for deeper answers, not merely those imposed by a passing need. Balbo’s current reflections allow us to re-think the dilemma of our relationship with the ‘other’ through the paradigm of the ‘dialectic integration’, which by referring to the ‘sublation’ or experiential ‘going through’ seems to promote integral human development (...) in a more efficient way. Thanks to this, ‘differences are unified without destroying each other’, and thus, are mutually enriched in being: each one can improve creatively, not against, but with, for, through, and thanks to the ‘other’. (shrink)

Artificial Intelligence (AI) applied to the legal domain is gaining ground. AI is argued to be particularly helpful with labour-intensive activities and repetitive tasks. Amongst the various AI solutions, ChatGPT has gathered momentum and its acclaimed advantages are, amongst others, document generation and contract review. This paper wishes to assess the effectiveness of two chatbots in contract drafting. To this aim, ChatGPT (by OpenAI) and Gemini (by Google) are prompted to write two supply contracts each, the first one written in (...) English according to the laws of England and Wales, and the other one still written in English, but according to the laws of the Republic of Italy. The paper finds that each contract pair generated by the AI solutions is identical, thus disregarding legal-system specificities and language conventions. Therefore, the drafts present a number of fallacies, either because they are incomplete, or because they include clauses that are redundant or inapplicable in a given legal system. The paper claims that human intervention and supervision are necessary to tackle the shortcomings generated by AI, at least as far as contract generation is concerned and with regard to the two chatbots addressed. (shrink)

Exploring Textual Action questions how we analyse works of art after the performative turn and shows how the interplay of performativity (textual action), space and topography, and the converging of genres and art forms is essential in modern drama, theatre, prose fiction, poetry and film. The volume also fosters a keen concern for the development of congenial theory. Its 14 detailed essays analyse works of art ranging from Balzac, Melville and George Eliot, to Breton, Kafka, Benjamin, Blixen and Woolf; and (...) from W.C. Williams, Bresson and Scorsese, to Sarraute, Duras, Reygadas, Dumont and Waltz. The approach of these studies discloses the art works as creative and dynamic utterances with active and shaping forces so powerful, and consequential, that they have the potential to transform human perception and blur clear distinctions between art and "real" life. Using an alternative and dynamic method and suggesting a direction towards the detailed analysis of literature, art, media and culture, Exploring Textual Action addresses current debates within the humanities. (shrink)

Patrizia Lombardo | : Stendhal et Musil sont les deux écrivains par excellence qui se sont interrogés sur le type de connaissance qui vient de la littérature. Avant Musil et comme Musil, Stendhal répond à cette question fondamentale en montrant que le roman offre une connaissance des émotions humaines et de leur lien avec les valeurs. Il s’agit à la fois de valeurs éthiques — les situations morales dans lesquelles se trouvent les personnages — et des valeurs esthétiques et (...) proprement littéraires — le tragique, le comique, le tragi-comique, le sublime, etc. Surtout, le roman n’est pas simple représentation du réel, mais aussi du possible. L’analyse de quelques phrases hypothétiques, conjectures et expériences de pensée dans Le Rouge et le Noir, confirme la thèse que la littérature propose une connaissance du possible à travers le travail de l’imagination. | : Stendhal and Musil are deeply concerned with the question of theknowledge value of literature. Like Musil and before him, Stendhalanswered this question by showing the potential of the novel :this literary form presents human emotions and their connection tovalues. The characters deal with various situations, therefore conveyethical values, while aesthetic values —such as the comic, thetragic, the tragic-comic, the sublime- emerge from the way in whichhuman actions and emotions are represented. All these values arebrought about by the style of Stendhal, which is both form and content,both ethical and aesthetic. The analysis of some hypotheticalsentences, conjectures and thought experiments in The Red and the Blackconfirms the thesis later endorsed by Musil, that literature allows forthe knowledge of the possible, thanks to the exercise of theimagination. (shrink)

According to the principle known as “the principle of present-tense ascription immunity”, “It is impossible for anyone to have or entertain thoughts without being aware—immediately and self-evidently—that he is thinking that thought”. In other words, my thoughts are fundamentally experienced as mine, and I typically have this experience of mineness immediately, that is, without any inference based on evidence about who is the thinker of the thought. Thought insertion reveals instead that, under particular pathological conditions, people can be startlingly in (...) error about who is thinking a thought. How can this happen? In the attempt to specify how the capacity for self-ascription of a thought can.. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2015 Heft: 206 Seiten: 89-108.

Esperimento mentale: siete Immanuel Kant, vi trovate in Australia, e ve ne state andando a passeggio. A un tratto scorgete una strana bestiola in riva al lago. Ha gli occhi di una talpa, ma sarà grande dieci volte tanto. Ha il becco di un’anatra, ma non ha le ali; e non ha piume bensì una fitta pelliccia che la fa assomigliare semmai a una lontra. La coda poi sembra quella di un castoro; e le zampe hanno dita palmate, ma con (...) artigli. Insomma, è proprio uno strano animale (ammesso che sia un animale e non una creatura degli inferi o lo scherzo di un taxidermista) nel quale certamente non vi siete mai imbattuti e di cui sicuramente non aver mai sentito parlare. Domanda: che cosa dunque state vedendo? Siete incappati in un ornitorinco. Ma attenzione: l’esperimento richiede che vi immedesimiate in Kant, e ai tempi di Kant l’ornitorinco non era ancora stato scoperto. Per meglio dire: non era ancora stato scoperto e classificato dai naturalisti europei, che ci avrebbero impiegato quasi un altro secolo prima di trovargli un posto nell’ordine sui generis dei mammiferi ovipari. Il vecchio Immanuel non ne sapeva nulla, non ne aveva il concetto; quindi voi non potete rispondere che state vedendo un ornitorinco. State vedendo quella cosa lì e basta. Il problema è cosa significhi dire che state vedendo quella cosa dato che non avete la più pallida idea di che cosa stiate vedendo. (shrink)