A historical and theoretical investigation of the unexpected ways screen-based media protect and excite viewers' fears and anxieties of the worldIn this brilliant contribution to contemporary media studies, acclaimed theorist Francesco Casetti advances a provocative hypothesis: instead of being prostheses that expand or extend our perceptions, modern screen-based media are in fact apparatuses that shelter and protect us from exposure to the world. Rather than bringing us closer to external reality, dominant forms of visual media function as barriers (...) or enclosures that defend against the apparent threats and dangers that seem increasingly to surround us. Working with an original historical overview that begins with the Phantasmagoria of the late eighteenth century, then the shared interior spaces of the movie theater in the early to mid-twentieth century, and finally the solitary digital milieus of the present, Casetti traces the outlines of the protective "bubbles" that disconnect us from our immediate surroundings. To be provided with a shield of immunity to the hazards and uncertainties of the world while experiencing them at a safe remove might seem a positive development. But, he asks, what if these media, instead of providing invulnerability, ensnare individuals in a suffocating enclosure? What if, in their effort to keep reality under control, they exercise a violence equal to that of the dangers they resist? In a dialectical exercise, and through a vivid range of cultural artifacts, Screening Fears traces the emergence of modern protective media and the way they changed our forms of mediation with the world in which we live. (shrink)

The screen is not a pre established object: it becomes a screen—and that screen—when it interacts with a group of elements and relates to a set of practices that produce it as a screen. In this process of becoming screen, a crucial step is played by the space in which the screen is located and where spectators gather. The confluence of screen and space changes our perception of both: the screen displays the situatedness of its action, and the space its (...) nature of medium. The landscape becomes a screenscape, in which individuals access images through which they negotiate with reality and others. Eventually, the insistence on becoming screen highlights the role of contingency and conjuncture in the process of mediation: screenscapes emerge according opportunities, conflicts, and potentialities. Hence a media archeology that, far from being linear and teleological, follows unpredicted paths and creates surprising links—a rhizomatic media archeology. (shrink)

The study of film entered a new era after World War II, as cinema became an acceptable focus for intellectual inquiry. The many ways in which cinema has been imagined, studied, and discussed in the last fifty years are the subject of this comprehensive overview of film theory in the United States and Europe since 1945. Francesco Casetti groups his essays around principal movements in film studies. In the first part of the book, he reviews the attempts at (...) defining the "essence" of cinema during the 1950s. Then he explores disciplinary approaches to cinema--psychological, sociological, semiotic, and psychoanalytic--popular in the 1960s and 1970s. Finally, he focuses on "field" theories--cinema and politics, the critique of representation, feminist film theory, neo-disciplinary tendencies, cultural and aesthetic studies, and the new approaches to film history. Theories of Cinema was originally published in Italy, where it won the Premio Domenico Meccoli--Scrivere di cinema 1993 of the Centro dello Spettacolo in Rome. This is its first English translation. The author has revised and updated this edition to cover the years 1945-1995. (shrink)

Nella nostra vita quotidiana, abbiamo a che fare con un numero sempre crescente di schermi. Tutti i dispositivi e media a noi più famigliari – dal computer allo smartphone, dal tablet alle screen façades – sono caratterizzati da schermi. Una tale diffusione viene a modificare la natura stessa dello schermo. Quest’ultimo non è più una superficie su cui la realtà è rappresentata con rinnovata forza e chiarezza (includendo la realtà dei sogni), come lo era attraverso il film – lo schermo (...) non è più il luogo di una tale “epifania”, per riprendere un termine utilizzato dai primi teorici del cinema. Lo schermo dei nuovi dispositivi funziona più come un display, ovvero come un luogo su cui delle immagini che fluttuano liberamente vengono ad arrestarsi per un momento, rendendosi disponibili agli utenti, e permettendo così di essere manipolate, prima di riprendere la loro circolazione verso nuove direzioni. Non è un caso che le metafore tradizionali utilizzate per descrivere lo schermo – come finestra, specchio, quadro – sono ora sostituite da altre metafore – monitor, bacheca, muro – che sottolineano un simile processo fatto di un continuo fermarsi e ripartire. Approdato a questi nuovi dispositivi, anche il cinema ha finito per seguire la logica del display: le sue immagini appaiono ora più precarie, meno limitate dalla narrazione, e si aprono a diversi significati. Il successo crescente di film che utilizzano immagini provenienti – o che si vogliono derivanti – da archivi preesistenti è un sintomo di come anche le immagini filmiche sembrano fare parte di un tornado di immagini che di tanto in tanto si inabissa e lascia alcuni dietro di sé. In ogni caso, il punto in cui le immagini “decollano” non arriva mai in modo casuale. Un’immagine può rendersi disponibile ad una folla o a un individuo, in uno spazio pubblico o in privato, temporalmente prossima o distante rispetto agli eventi che rappresenta: in ogni caso, l’immagine assumerà diversi valori, su un piano esperienziale e politico. A lungo, il cinema ha funzionato come una sfera pubblica fondamentale, e in questo senso esso ha mostrato l’importanza della condivisione collettiva di immagini e suoni. Ora, in un regime di circolazione intensa e continua di immagini, è importante ricordare che immagini e suoni devono essere condivisi anche in un contesto in cui pubblico e situazione divengono sempre più precari. (shrink)

La notion de « relocation » désigne le déplacement historique du visionnage cinématographique vers des milieux et des objets nouveaux. Qu’il s’agisse de regarder une œuvre cinématographique sur une tablette dans un train ou bien d’assister à un match de foot dans la salle domestique d’un home théâtre, la dispersion de l’expérience cinématographique, en cours depuis longtemps, est significativement accélérée par les nouveaux media.

Lo spettro di un paradosso si aggira nella Galassia Lumière, attraversando tenacemente i sette lemmi chiave (rilocazione, reliquie e icone, assemblage, espansione, ipertopia, display, performance) che scandiscono la struttura interna dell’ultimo libro di Francesco Casetti: come può mantenersi un’identità nel cambiamento? Come può il cinema pur deformandosi nel corso del tempo rimanere sempre lo stesso? Da questo paradossale interrogativo, che innerva il volume dal principio alla fine, sorge s...

Francesco Casetti _Theories of Cinema: 1945-1995_ Translated by Francesca Chiostri and Elizabeth Gard Bartolini-Salimbeni, with Thomas Kelso Austin: University of Texas Press, 1999 ISBN 0-292-71207-3 368 pp.

Impossible Worlds focuses on an exciting new theory in philosophy, with applications in metaphysics, logic, and the theory of meaning. Its central topic is: how do we meaningfully talk and reason about situations which, unbeknownst to us, are impossible? This issue emerges as a central problem in contemporary philosophical accounts of meaning, information, knowledge, belief, fiction, conditionality, and counterfactual supposition. The book is written bytwo of the leading philosophers in the area and contains original research of relevance to professional philosophers (...) and logicians working in metaphysics, philosophy of language, formal logic, and adjacentareas. (shrink)

A hyperintensional epistemic logic would take the contents which can be known or believed as more fine-grained than sets of possible worlds. I consider one objection to the idea: Williamson’s Objection from Overfitting. I propose a hyperintensional account of propositions as sets of worlds enriched with topics: what those propositions, and so the attitudes having them as contents, are about. I show that the account captures the conditions under which sentences express the same content; that it can be pervasively applied (...) in formal and mainstream epistemology; and that it is left unscathed by the objection. (shrink)

Moving from a behavioral definition of intelligence, which describes it as the ability to adapt to the surrounding environment and deal effectively with new situations (Anastasi, 1986), this paper explains to what extent the performance obtained by ChatGPT in the linguistic domain can be considered as intelligent behavior and to what extent they cannot. It also explains in what sense the hypothesis of decoupling between cognitive and problem-solving abilities, proposed by Floridi (2017) and Floridi and Chiriatti (2020) should be interpreted. (...) The problem of symbolic grounding (Harnad, 1990) is then addressed to show the problematic relationship between ChatGPT and the natural environment, and thus the impossibility for it to understand the symbols it manipulates. To explain the reasons why ChatGPT does not succeed in this task, an investigation is carried out and a possible solution to the problem in the artificial domain is proposed by making a comparison with the natural ability of living beings to ground their own meanings from some basic cognitive-sensory aspects, which, it is explained, are directly related to the emergence of self-awareness in humans. Thus, the question is raised whether a possible and concrete solution to the Symbol Grounding Problem would involve in the artificial domain the development of cognitive abilities fully comparable to those of humans. Finally, I explain the difficulties that would have to be overcome before such a level could be reached, since human cognitive capacities are intimately linked to intersubjectivity and intercorporeality. (shrink)

According to Chomsky, creativity is a critical property of human language, particularly the aspect of ?the creative use of language? concerning the appropriateness to a situation. How language can be creative but appropriate to a situation is an unsolvable mystery from the Chomskyan point of view. We propose that language appropriateness can be explained by considering the role of the human capacity for Mental Time Travel at its foundation, together with social and ecological intelligences within a triadic language-grounding system. Our (...) proposal is based on the change of perspective from the analysis of individual sentences to the flux of speech in which the temporal dimension of language is much more relevant. (shrink)

Objective correlates—behavioral, functional, and neural—provide essential tools for the scientific study of consciousness. But reliance on these correlates should not lead to the ‘fallacy of misplaced objectivity’: the assumption that only objective properties should and can be accounted for objectively through science. Instead, what needs to be explained scientifically is what experience is intrinsically— its subjective properties—not just what we can do with it extrinsically. And it must be explained; otherwise the way experience feels would turn out to be magical (...) rather than physical. We argue that it is possible to account for subjective properties objectively once we move beyond cognitive functions and realize what experience is and how it is structured. Drawing on integrated information theory, we show how an objective science of the subjective can account, in strictly physical terms, for both the essential properties of every experience and the specific properties that make particular experiences feel the way they do. (shrink)

Understanding Institutions proposes a new unified theory of social institutions that combines the best insights of philosophers and social scientists who have written on this topic. Francesco Guala presents a theory that combines the features of three influential views of institutions: as equilibria of strategic games, as regulative rules, and as constitutive rules. -/- Guala explains key institutions like money, private property, and marriage, and develops a much-needed unification of equilibrium- and rules-based approaches. Although he uses game theory concepts, (...) the theory is presented in a simple, clear style that is accessible to a wide audience of scholars working in different fields. Outlining and discussing various implications of the unified theory, Guala addresses venerable issues such as reflexivity, realism, Verstehen, and fallibilism in the social sciences. He also critically analyses the theory of “looping effects” and “interactive kinds” defended by Ian Hacking, and asks whether it is possible to draw a demarcation between social and natural science using the criteria of causal and ontological dependence. Focusing on current debates about the definition of marriage, Guala shows how these abstract philosophical issues have important practical and political consequences. -/- Moving beyond specific cases to general models and principles, Understanding Institutions offers new perspectives on what institutions are, how they work, and what they can do for us. (shrink)

In this paper we reply to arguments of Kroon (“Characterization and Existence in Modal Meinongianism”. Grazer Philosophische Studien 86, 23–34) to the effect that Modal Meinongianism cannot do justice to Meinongian claims such as that the golden mountain is golden, and that it does not exist.

Manufacturing and industry practices are undergoing an unprecedented revolution as a consequence of the convergence of emerging technologies such as artificial intelligence, robotics, cloud computing, virtual and augmented reality, among others. This fourth industrial revolution is similarly changing the practices and capabilities of operators in their industrial environments. This paper introduces and explores the notion of the Operator 4.0 as well as how this novel way of conceptualizing the human operator necessarily implicates human values in the technologies that constitute it. (...) The design approach known as value sensitive design (VSD) is used to explore how these Operator 4.0 technologies can be designed for human values. Expert elicitation surveys were used to determine the values of industry stakeholders and examples of how the VSD methodology can be adopted by engineers in order to design for these values is illustrated. The results provide preliminary adoption strategies that industrial teams can take to Operator 4.0 technology for human values. (shrink)

First published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.

In this paper, we take a meta-theoretical stance and aim to compare and assess two conceptual frameworks that endeavor to explain phenomenal experience. In particular, we compare Feinberg & Mallatt’s Neurobiological Naturalism (NN) and Tononi’s and colleagues' Integrated Information Theory (IIT), given that the former pointed out some similarities between the two theories (Feinberg & Mallatt 2016c-d). To probe their similarity, we first give a general introduction to both frameworks. Next, we expound a ground plan for carrying out our analysis. (...) We move on to articulate a philosophical profile of NN and IIT, addressing their ontological commitments and epistemological foundations. Finally, we compare the two point-by-point, also discussing how they stand on the issue of artificial consciousness. (shrink)

The experimental approach in economics is a driving force behind some of the most exciting developments in the field. The 'experimental revolution' was based on a series of bold philosophical premises which have remained until now mostly unexplored. This book provides the first comprehensive analysis and critical discussion of the methodology of experimental economics, written by a philosopher of science with expertise in the field. It outlines the fundamental principles of experimental inference in order to investigate their power, scope and (...) limitations. The author demonstrates that experimental economists have a lot to gain by discussing openly the philosophical principles that guide their work, and that philosophers of science have a lot to learn from their ingenious techniques devised by experimenters in order to tackle difficult scientific problems. (shrink)

In the last couple of years, two important books concerning moral progress arrived in the press, namely Philp Kitcher’s Moral Progress and Victor Kumar’s and Richmond Campbell’s A Better Ape. In this critical notice, I review both books and problematize the way in which they respectively try to tie together moral progress and the theory of evolution.

C’è prima la persona o prima la società? Per non cadere in una risposta dualistica, bisogna risalire alle radici antropologiche della vita sociale, che stanno alla base delle diverse forme che essa storicamente può assumere. Questo saggio esamina il rapporto tra le tendenze socializzanti innate e le virtù relazionali, alla luce di un’antropologia integrale, nella quale la persona umana è considerata nella sua globalità somatico-psichico-spirituale. Vengono qui esaminati il tessuto di legami in cui è inserita la nostra esistenza e la (...) responsabilità che compete a ognuno nei confronti del cosiddetto capitale sociale. (shrink)

Can we say we live in a post-digital condition? It depends. This paper sets out to distinguish between the current mass digital culture and an authentic post-digital culture. If we mean “post-digital” as the full internalization and awareness of the result of the so-called digital revolution, then it is necessary a philosophical work to discuss related problems, identify the causes and propose solutions. An authentic philosophy of digital will, however, have to start from a clarification of the terms and basic (...) objects of its investigation. Here media theory is inserted as an analytical tool: the purpose of this essay is to outline a road map for a good media theory that interfaces with questions of definition of digital, also in light of the notions of space, time, and matter. As will be seen, the description given here for a “good media theory” does, in fact, coincide with an already existing – and inserted in the contemporary debate – school. In conclusion we will try to delineate the field of philosophical inquiry opened by the clarification brought by the previous analysis, and to suggest a general framework within which philosophy will have to move in order to finally reach the authentic post-digital condition. (shrink)

This book is the first translation into the English language of a comprehensive study of opera and its constituent parts by an accomplished writer of the Eighteenth Century. Francesco Algarotti was concerned with developing opera as drama and a move away from the elaborate formality of the Baroque to a more naturalistic style. The Essay in its original Italian had considerable influence on the reform opera of Christoph Willibald Gluck.

This article investigates the effects of perceived supervisor support on ethical and unethical employee behavior using a multi-method approach. Specifically, we test the mediating mechanism and a boundary condition that moderate the relationship between support and ethical employee behaviors. We find that supervisor-based self-esteem fully mediates the relationship between supervisor support and ethical employee behavior and that employee task satisfaction intensifies the relationship between supervisor support and supervisor-based self-esteem.

Current debates in social ontology are dominated by approaches that view institutions either as rules or as equilibria of strategic games. We argue that these two approaches can be unified within an encompassing theory based on the notion of correlated equilibrium. We show that in a correlated equilibrium each player follows a regulative rule of the form ‘if X then do Y’. We then criticize Searle's claim that constitutive rules of the form ‘X counts as Y in C’ are fundamental (...) building blocks for institutions, showing that such rules can be derived from regulative rules by introducing new institutional terms. Institutional terms are introduced for economy of thought, but are not necessary for the creation of social reality. (shrink)