We propose a view of consciousness as a sort of metaphoric “funnel” transforming a fraction of the parallel processes taking place continually in our central nervous system into something intrinsically serial and sequential. A conscious state is the result of this temporary serialization of a set of parallel mental processes. Before this event, everything is parallel, but also after it, everything returns parallel. As a consequence, the simile we propose is that of a “clepsydra” or sandglass. A conscious state coincides (...) with its bottleneck. Here, we explore possible consequences of the adoption of this model. (shrink)
This paper examines the view held by Francesco Piccolomini (1523-1607) on the relation between prime matter and extension. In his discussion of prime matter in the Libri ad scientiam de natura attinentes Piccolomini develops a theory of prime matter that incorporates crucial elements of the viewpoint adhered to by the Neoplatonist Simplicius. The originality of Piccolomini’s undertaking is highlighted by contrasting it with the ideas found in Jacopo Zabarella’s De rebus naturalibus . The case of Piccolomini shows that, in (...) order to classify early modern metaphysical theories of prime matter, the category ‘prime matter as sheer dimensionality’ is indispensable. (shrink)
Abstract The role of actual works of art with philosophical writing is often reduced to the status of example or illustration. As such the materiality of art work is rarely discussed let alone deployed as the basis of philosophical reflection. In this paper works by Francesco Mosca, and Bernini are used to question Heidegger's writings on sculpture. What such an approach opens up is the possibility that art may set the measure for philosophy.
It seems fairly straightforward to describe what should and should not count as a disability into two separate and opposing categories. In this paper we will challenge this assumption and critically reflect on the narrow relations between the concepts of 'talent' and 'disability'. We further relate such matters of terminology and classification to issues of justice in what is conceived of as disability sport. Do current systems of classification do justice to the performances of disabled athletes? Is the organisation of (...) a just and fair competition similar for abled as it is for disabled sport? Two cases (of Francesco Lentini and Oscar Pistorius) will be explored to further illustrate the complexities of these questions, in particular when related to notions of normality and extraordinary performances. (shrink)
The article is the consequence of some critical notes to the contribution of Paolo Bellan, arising from reading of essays of Francesco Emmolo and Carlo Sini and the assumption of a purely phenomenological perspective in the interpretation of the processes of acquisition of scientific knowledge.
La nota entra in dialogo con il saggio di Francesco Emmolo e cerca di comprendere la proposta di Enzo Paci all’interno di una domanda sul “soggetto della conoscenza”. Di esso la storia della filosofia ha presentato molteplici immagini, che entrano in un confronto critico con la comprensione “quotidiana” della relazione conoscitiva.
Francesco Patrizi da Cherso's Discussiones peripateticae (1581) are one of the most comprehensive analyses of the whole of Aristotelian philosophy to be published before Werner Jaeger's Aristoteles. The main thrust of the argument in the Discussiones is that whatever Aristotle had said that was true was not new, and that whatever he had said that was new was not true. The article shows how Patrizi proves this with respect to the Organon, and deals with the implications for the history (...) af ancient philosophy in general implied by his stance. (shrink)
continent. 1.4 (2011): 286—310. This mad play of writing —Stéphane Mallarmé Somewhere in between mathematics and theory, light and dark, physicality and projection, oscillates the poetry of Alessandro De Francesco. The texts hold no periods or commas, not even a capital letter for reference. Each piece stands as an individual construction, and yet the poetry flows in and out of the frame. Images resurface from one poem to the next, haunting the reader with reincarnations of an object lost in (...) the grass or a representation of a pear in a Dutch still life, embedded in cycles of cinematic close ups and multiple dimensions. As a whole, De Francesco’s oeuvre suggests, to use the title of one of his works, a redefinition —linguistic, epistemological, personal. The poem The End (un’agenda) (The End (an agenda)) opens with a quote by literary theorist Maurice Blanchot, which may be translated as follows: Speaking is not seeing. Speaking frees thought from this optical imperative that in the Western tradition, for thousands of years, has subjugated out approach to things, and induced us to think under the guaranty of light or under the threat of its absence. In writing, De Francesco seeks to redefine our approach to things. His poems, like Blanchot’s writings, speak to both illuminate and to obscure. The reader hangs in an absence of reality within language that necessitates an attempt at interpretation, yet renders such a search ultimately futile. De Francesco draws the anonymous images that appear in this poem from the city of Paris, his current home. The fragmented narrative depicts an inner doubt of realness, calling for a confirmation of a physical existence beyond verbalization and cogitation. Cyclical references to film throw into question the reliability of the reality he creates. The light, sometimes red and safe, other times absent and murky, cannot necessarily be trusted as a guaranteed means of illumination. Blanchot’s distinction between language and visualization, and the relationship of each to reality, though linked specifically to The End (un’agenda) , can be a lens through which to read any of the three works that follow. assente obliqua (absent oblique) is composed of descriptions of six still life paintings, ranging from Dutch masterpieces of the seventeenth century to 1960s minimalism. The actual images of the paintings are absent, and the text is the sole source and object of a virtual reality created around the artwork. “Absent oblique” refers to the light source placed outside of the frame, which both informs and distracts viewing of the scene. Although mere description can be unreliable and unsatisfying in its necessary limitation, the representational act of description is shown as more than just a human want. It is a need, a means by which to grapple with an unsure reality. As the illustrations progress, they descend into abstraction and chaos. The precariously placed plate triggers the movement: the bottle bursts and the objects collapse into the movement of a tracking film camera. corpo estraneo in moto ascensionale (foreign body in ascending motion) is prose poetry in action. Its objective tone of description is skewed by the subjectivity of the narrative as horrific images are relayed in fragmented but matter-of-fact manner. A “foreign body” is both a mass of cancerous cells, and a corporeal description, and the poem takes the reader on a journey back and forth between the two, destination unclear. Beyond a questioning of the real, corpo estraneo in moto ascensionale is an examination of the possible. De Francesco’s poetry becomes a camera obscura through which to observe the constant flux of light and dark that blurs our reality. His work is colored by the idea of apo koinou , a Greek term meaning “from the common” that involves a construction of two clauses with a shared word or phrase. Through such melting of meaning, De Francesco creates a fluid ambiguity that is nonetheless grounded in bodily concepts. In assente obliqua , the reader is confronted with a description of a still life that rapidly transforms into a more chilling scene: the membrane of the mushroom in the basket emerges behind the white cloth a body could hide itself that asks for help In the realm of pure description, there is a mushroom that peeks out from behind a white cloth in a basket. Behind the white cloth, too, there could be a body, hiding, asking for help. Such an elision elicits disorienting mistrust in temporality, but also expands the planar possibilities of syntactical meaning. A white cloth is not merely a construct in still life painting, but veil that both shields and reveals potential mysteries. It is a proposed alternative to a traditional Western binary of subjectivity and objectivity. The apo koinou construction is rare in modern English, having slipped out of use after its resurgence in Old English poetry. De Francesco reintroduces this blur of object and subject relations into a modern light. He draws inspiration from a device used by Gruppo 63 founder and avant-garde poet Antonio Porta tended toward repetition of phrases in third person perspective. In Italian, it is perfectly grammatically correct to omit the subject, including only a verb conjugation. Gender, even humanity unknown, the subject dissolves into the action, thus giving to the poetry the power to change the reader’s perception of who or what is actually acting. To further push the relative boundaries of experience, De Francesco expands his written poetry into what he calls “reading environments.” In these sound experiments, De Francesco’s voice reading his poetry is manipulated by real time digital voice processing. The written is transformed to the spoken, and then injected with currents of electric sound. “At each activation of word in the darkness,” (from The End (un’agenda) ) language is permutated into a nonphysical yet all-encompassing being. In these projects, realized all over Europe, De Francesco continues his examination of the word’s potency beyond the page and into an “n-dimensional space,” where the lines between nature and affect are intertwined. To publish excerpts of De Francesco’s oeuvre is to show screen shots of full-length film, to read pull quotes from a philosophy treatise. In these poems, there are questions, not to be answered, but to be questioned again. The words will oscillate in and out of the square construction found in his poems, out of the borders of the page, out of the rectangle of the laptop screen. NOTES (1) Blanchot, Maurice. The Infinite Conversation . Trans. Susan Hanson. Minneapolis: University of Minnesota Press, 1993. 27. EDITORS' NOTE The .pdf above contains about twenty pages of translation and the original Italian poetry. Below we provide only a brief account. The End (an agenda) Parler, ce n’est pas voir. Parler libère la pensée de cette exigence optique qui, dans la tradition occidentale, soumet depuis des millénaires notre approche des choses et nous invite à penser sous la garantie de la lumière ou sous la menace de l’absence de lumière. —Maurice Blanchot in this n-dimensional space i could spy on myself from the cracks while going back and forth from the summer to the wardrobe from the night to the parking lot but something filters in through the half-closed shutters becomes an event enunciation we stay without explanation like parallel curves on the back of a solid growing older she enters the garden always repeats certain phrases the elevator to be redone the neighbor’s music the steps the pavement furls like the leaves of a fern when touched she is framed from behind while she moves rocking she covers distances slowly a bag overflows from the wardrobe something stirs inside but then the suitcase comes open not even by my hand it’s the objects that are starting to filter out the little red haired monster watches idling the appointments written on one of your agendas two years old still seem urgent each letter holds itself upright on the page with flourishes and arabesques each angle has its own geography i’m trying to describe the path the fingers trace on the carpet the zipper takes the opposite route we are suspended on the stairs above the water in the center is the summer seen from above the darkness of the city passes from one headlight to the next the surfaces of our arms cohere and are shiny underneath the blinking of a sign each pore is an open expanse the body dreams the hair gives form to the possible some daring swimmers were throwing themselves into the seine they swam upstream up to the first quay look there could exist behind the screen a room where even when the lamp is out and the curtains drawn even when the suitcase wasn’t closed everything seemed red everything calm construction of a four-dimensional tetrahedron by R. Courant – H. Robbins, What is Mathematics? Oxford University Press, 1941  . (shrink)
Francesco guicciardini rather than niccolo machiavelli was the first significant theorist to consider the role of interest in moral and political life, But the idea of interest rose to normative status because traditional natural law ethics, Which repressed the pursuit of interest in the name of right reason, Was transformed in the early modern period. The transformed version, It is proposed, Legitimized the pursuit of interest by introducing a philosophy of ethical egoism.
Wonder, miracle, occult science, poetry, and the epistemological implications in Renaissance authors: Marsilio Ficino, Giovanni Pico, Pietro Pomponazzi, Agrippa of Nettesheim, Giordano Bruno, Francesco Patrizi, Tommaso Campanella, Francisco Suárez.
Upshot: Written by recognized experts in their fields, the book is a set of essays that deals with the influences of early cybernetics, computational theory, artificial intelligence, and connectionist networks on the historical development of computational-representational theories of cognition. In this review, I question the relevance of computability arguments and Jonasian phenomenology, which has been extensively invoked in recent discussions of autopoiesis and Ashby’s homeostats. Although the book deals only indirectly with constructivist approaches to cognition, it is useful reading for (...) those interested in machine-based models of mind. (shrink)