Search results for 'Henrique Lopes Cardoso' (try it on Scholar)

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  1. Henrique Lopes Cardoso & Eugénio Oliveira (2008). Electronic Institutions for B2b: Dynamic Normative Environments. [REVIEW] Artificial Intelligence and Law 16 (1):107 - 128.score: 870.0
    The regulation of the activity of multiple autonomous entities represented in a multi-agent system, in environments with no central design (and thus with no cooperative assumption), is gaining much attention in the research community. Approaches to this concern include the use of norms in so-called normative multi-agent systems and the development of electronic institution frameworks. In this paper we describe our approach towards the development of an electronic institution providing an enforceable normative environment. Within this environment, institutional services are provided (...)
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  2. Gabriela Marodin, Paulo Henrique Condeixa de França, Jennifer Braathen Salgueiro, Marcia Luz da Motta, Gysélle Saddi Tannous & Anibal Gil Lopes (2012). Alternatives of Informed Consent for Storage and Use of Human Biological Material for Research Purposes: Brazilian Regulation. Developing World Bioethics 12 (3):127-131.score: 240.0
    Informed consent is recognized as a primary ethical requirement to conduct research involving humans. In the investigations with the use of human biological material, informed consent (IC) assumes a differentiated condition on account of the many future possibilities. This work presents suitable alternatives for IC regarding the storage and use of human biological material in research, according to new Brazilian regulations. Both norms – Resolution 441/11 of the National Health Council, approved on 12 May 2011, and Ordinance 2.201 (NATIONAL GUIDELINES (...)
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  3. Fernando Henrique Cardoso (2005). The Need for Global Governance: A Perspective From Latin America. Library of Congress.score: 240.0
  4. F. Henriques, Jc Caninas & Jl Cardoso (1999). Arqueologia no Alto Tejo. Balanço de 30 anos de investigação. História 18:68-74.score: 100.0
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  5. Henrique Lopes Cardoso & Eugénio Oliveira (2008). Electronic Institutions for B2B: Dynamic Normative Environments. [REVIEW] Artificial Intelligence and Law 16 (1):107-128.score: 87.0
    The regulation of the activity of multiple autonomous entities represented in a multi-agent system, in environments with no central design (and thus with no cooperative assumption), is gaining much attention in the research community. Approaches to this concern include the use of norms in so-called normative multi-agent systems and the development of electronic institution frameworks. In this paper we describe our approach towards the development of an electronic institution providing an enforceable normative environment. Within this environment, institutional services are provided (...)
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  6. Dominic Lopes (1996). Understanding Pictures. Oxford University Press.score: 60.0
    There is not one but many ways to picture the world--Australian "x-ray" pictures, cubish collages, Amerindian split-style figures, and pictures in two-point perspective each draw attention to different features of what they represent. Understanding Pictures argues that this diversity is the central fact with which a theory of figurative pictures must reckon. Lopes advances the theory that identifying pictures' subjects is akin to recognizing objects whose appearances have changed over time. He develops a schema for categorizing the different ways (...)
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  7. Dominic McIver Lopes (2005). Sight and Sensibility: Evaluating Pictures. Clarendon Press.score: 60.0
    Looking at pictures, we see in them the scenes they depict, and any value they have springs from these experiences of seeing-in. Sight and Sensibility presents the first detailed and comprehensive theory of evaluating pictures. Dominic Lopes confronts the puzzle of how the value of seeing anything in a picture can exceed that of seeing it face to face - his solution pinpoints how seeing-in is like and unlike ordinary seeing. Moreover, since part of what we see in pictures (...)
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  8. Dominic McIver Lopes (2014). Beyond Art. Oup Oxford.score: 60.0
    This book offers a bold new approach to the philosophy of art. General theories of art don't work: they can't deal with problem cases. Instead of trying to define art, we should accept that a work of art is nothing but a work in one of the arts. Lopes's buck passing theory works well for the avant garde, illuminating its radical provocations.
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  9. Dominic McIver Lopes (2011). An Empathic Eye. In Amy Coplan & Peter Goldie (eds.), Empathy. Philosophical and psychological perspectives. Oxford Univerity Press.score: 60.0
    Dominic McIver Lopes is asking for an account of empathy that brings out how emotions are involved in different empathic phenomena.
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  10. João Ignacio Lucas Pires (2000). Dependência E Desenvolvimento Na América Latina Despois da Reforma Do Estado. Cinta de Moebio 7.score: 36.0
    This paper analizes the work of Fernando Henrique Cardoso and Enzo Faletto (Dependência e Desenvolvimento), to see the relation between state and social classes in the brazilian development process, yersteday and today.
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  11. Dominic McIver Lopes (2003). The Aesthetics of Photographic Transparency. Mind 112 (447):434--48.score: 30.0
    When we look at photographs we literally see the objects that they are of. But seeing photographs as photographs engages aesthetic interests that are not engaged by seeing the objects that they are of. These claims appear incompatible. Sceptics about photography as an art form have endorsed the first claim in order to show that there is no photographic aesthetic. Proponents of photography as an art form have insisted that seeing things in photographs is quite unlike seeing things face-to-face. This (...)
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  12. Matthew Kieran & Dominic Lopes (eds.) (2003). Imagination, Philosophy, and the Arts. Routledge.score: 30.0
    Imagination is a central concept in aesthetics with close ties to issues in the philosophy of mind and the philosophy of language, yet it has not received the kind of sustained, critical attention it deserves. Imagination, Philosophy and the Arts represents the work of fifteen young yet distinguished philosophers of art, who critically examine just how and in what form the notion of imagination illuminates fundamental problems in the philosophy of art. All new papers, a strong collection on the imagination (...)
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  13. Dominic McIver Lopes (2008). Nobody Needs a Theory of Art. Journal of Philosophy 105 (3):109-127.score: 30.0
    The question "what is art?" is often said to be venerable and vexing. In fact, the following answer to the question should be obvious: (R) item x is a work of art if and only if x is a work in practice P and P is one of the arts. Yet (R) has appeared so far from obvious that nobody has given it a moment's thought. The trouble is not that anyone might seriously deny the truth of (R), but rather (...)
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  14. Vincent Bergeron & Dominic Mciver Lopes (2009). Hearing and Seeing Musical Expression. Philosophy and Phenomenological Research 78 (1):1-16.score: 30.0
    Everybody assumes (1) that musical performances are sonic events and (2) that their expressive properties are sonic properties. This paper discusses recent findings in the psychology of music perception that show that visual information combines with auditory information in the perception of musical expression. The findings show at the very least that arguments are needed for (1) and (2). If music expresses what we think it does, then its expressive properties may be visual as well as sonic; and if its (...)
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  15. Dominic McIver Lopes (2011). The Myth of (Non-Aesthetic) Artistic Value. Philosophical Quarterly 61 (244):518-536.score: 30.0
    Art works realize many values. According to tradition, not all of these values are characteristic of art: art works characteristically bear aesthetic value. Breaking with tradition, some now say that art works bear artistic value, as distinct from aesthetic value. I argue that there is no characteristic artistic value distinct from aesthetic value. The argument for this thesis suggests a new way to think about aesthetic value as it is characteristically realized by works of art.
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  16. Dominic Mciver Lopes (2007). The Aesthetic Function of Art. Philosophy and Phenomenological Research 75 (2):484–487.score: 30.0
  17. Dominic M. McIver Lopes (1999). Pictorial Color: Aesthetics and Cognitive Science. Philosophical Psychology 12 (4):415 – 428.score: 30.0
    The representation of color by pictures raises worthwhile questions for philosophers and psychologists. Moreover, philosophers and psychologists interested in answering these questions will benefit by paying attention to each other's work. Failure to recognize the potential for interdisciplinary cooperation can be attributed to tacit acceptance of the resemblance theory of pictorial color. I argue that this theory is inadequate, so philosophers of art have work to do devising an alternative. At the same time, if the resemblance theory is false, then (...)
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  18. Dominic McIver Lopes (2008). Virtues of Art: Good Taste. Aristotelian Society Supplementary Volume 82 (1):197-211.score: 30.0
    If good taste is a virtue, then an account of good taste might be modelled on existing accounts of moral or epistemic virtue. One good reason to develop such an account is that it helps solve otherwise intractable problems in aesthetics. This paper proposes an alternative to neo-Aristotelian models of good taste. It then contrasts the neo-Aristotelian models with the proposed model, assessing them for their potential to contend with otherwise intractable problems in aesthetics.
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  19. Dominic M. M. Lopes (2000). What is It Like to See with Your Ears? The Representational Theory of Mind. Philosophy and Phenomenological Research 60 (2):439-453.score: 30.0
    Representational theories of mind cannot individuate the sense modalities in a principled manner. According to representationalism, the phenomenal character of experiences is determined by their contents. The usual objection is that inverted qualia are possible, so the phenomenal character of experiences may vary independently of their contents. But the objection is inconclusive. It raises difficult questions about the metaphysics of secondary qualities and it is difficult to see whether or not inverted qualia are possible. This paper proposes an alternative test (...)
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  20. Dominic M. Mciver Lopes (1998). Imagination, Illusion and Experience in Film. Philosophical Studies 89 (2-3):343-353.score: 30.0
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  21. Dominic McIver Lopes (2007). Art Without ‘Art’. British Journal of Aesthetics 47 (1):1-15.score: 30.0
    Some argue that there is no art in some non-Western cultures because members of those cultures have no concept of art. Others argue that members of some non-Western cultures have concepts of art because they have art. Both arguments assume that if there is art in a given culture, then some members of the culture have a concept of art. There are reasons to think that this assumption is false; and if it is false, there are lessons to learn for (...)
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  22. Dominic Lopes (1995). Pictorial Realism. Journal of Aesthetics and Art Criticism 53 (3):277-285.score: 30.0
    This paper examines a form of pictorial realism that has epistemic import. Gombrich and Schier claim that some pictures are realistic because they convey accurate information. The difficulty is that judgments of realism vary across cultural and historical contexts. Goodman counters that pictures belong to different systems and realistic pictures belong to familiar systems. However, this does not explain the revelatory realism' of pictures in novel systems. I propose that two views can be combined: a realistic picture is one which (...)
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  23. Dominic Mciver Lopes (2007). Shikinen Sengu and the Ontology of Architecture in Japan. Journal of Aesthetics and Art Criticism 65 (1):77–84.score: 30.0
    Japan's Ise Jingu shrine has been taken down and rebuilt every twenty years for more than a millenium - a practice called "shikinen sengu." A standard ontology of architecture, according to which buildings are material particulars, implies that Ise Jingu is no more than twenty years old. However, a correct ontology of architecture is implicit in practices of architecture appreciation. The Japanese appreciation of Ise Jingu and other buildings in its architectural tradition implies both that it is no more than (...)
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  24. Dominic McIver Lopes (2009). Drawing in a Social Science: Lithic Illustration. Perspectives on Science 17 (1):pp. 5-25.score: 30.0
    Scientific images represent types or particulars. According to a standard history and epistemology of scientific images, drawings are fit to represent types and machine-made images are fit to represent particulars. The fact that archaeologists use drawings of particulars challenges this standard history and epistemology. It also suggests an account of the epistemic quality of archaeological drawings. This account stresses how images integrate non-conceptual and interepretive content.
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  25. Dominic Lopes (1992). Pictures, Styles and Purposes. British Journal of Aesthetics 32 (4):330-341.score: 30.0
    Pictures belong to stylistic systems that vary historically and culturally. This variation suggests that styles are conventional. However, styles are not conventional. Styles have perceptual functions that make them apt for use in some contexts and not others.
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  26. Diarmuid Costello & Dominic Mciver Lopes (2012). Introduction. Journal of Aesthetics and Art Criticism 70 (1):1-8.score: 30.0
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  27. Dominic Lopes (2005). Sight and Sensibility. Oxford University Press.score: 30.0
    Sight and Sensibility will be essential reading for anyone working in aesthetics and art theory, and for all those intrigued by the power of images to affect ...
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  28. Eileen John & Dominic Lopes (eds.) (2004). Philosophy of Literature: Contemporary and Classic Readings: An Anthology. Blackwell Pub..score: 30.0
    This authoritative volume offers a handy compilation of contributions to the field by its leading figures.
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  29. Dominic M. M. Lopes (1997). Art Media and the Sense Modalities: Tactile Pictures. Philosophical Quarterly 47 (189):425-440.score: 30.0
    It is widely assumed that the art media can be individuated with reference to the sense modalities. Different art media are perceived by means of different sense modalities, and this tells us what properties of each medium are aesthetically relevant. The case of pictures appears to fit this principle well, for pictures are deemed purely and paradigmatically visual representations. However, recent psychological studies show that congenitally and early blind people have the ability to interpret and make raised‐line drawings through touch. (...)
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  30. Dominic Lopes (2009). A Philosophy of Computer Art. Routledge.score: 30.0
    The machine in the ghost -- A computer art form -- Live wires: computing interaction -- Work to rule -- Artist to audience -- Computer art poetics -- Atari to art -- Envoi.
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  31. Dominic M. McIver Lopes (2002). Vision, Touch, and the Value of Pictures. British Journal of Aesthetics 42 (2):191-201.score: 30.0
    Since blind people can draw and interpret raised-line drawings, depiction is not an essentially visual medium. Neither is the art of pictures an essentially visual art form. The reasons given for evaluating a picture aesthetically may advert to its tactile qualities insteadof its visual qualities.In particular, a raised-line picture canbe valued for the tactile experience it elicits of the scene it depicts, just as a visual picture is sometimes valuedfor eliciting a visual experience of its subject. The argument for this (...)
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  32. Cláudia Sarrico, Maria Rosa, Pedro Teixeira & Margarida Cardoso (2010). Assessing Quality and Evaluating Performance in Higher Education: Worlds Apart or Complementary Views? Minerva 48 (1):35-54.score: 30.0
    This paper reflects on quality assessment and performance evaluation in higher education, namely by analysing the insufficient link between those two aspects. We start by reviewing the current state of the art regarding different processes and mechanisms of quality assessment and performance evaluation and discuss some of the major issues regarding the implementation of some of them. In particular, we analyse the current limitations regarding data collected, available and publicised on the performance of HEIs and the problems those limitations bring (...)
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  33. Dominic Mciver Lopes (2004). Directive Pictures. Journal of Aesthetics and Art Criticism 62 (2):189–196.score: 30.0
    Pictures are principally descriptive. Advertising images highlight features of potential purchases; cartoons open portals to scenes in fictional worlds; snapshots in the family photo album remind us of our past selves and landmark events in our personal histories; works of pictorial art express thoughts or feelings about depicted scenes. In addition, pictures serve a directive or action-guiding function that, though not taken into account by theorists, deserves no less attention than their descriptive one. Theories of depiction and the appreciation of (...)
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  34. Hilan Bensusan & Tomás Ribeiro Cardoso (2012). Por uma metafísica de tramas: o mundo sem arché. Kriterion 53 (125):281-298.score: 30.0
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  35. Dominic McIver Lopes (2000). From Languages of Art to Art in Mind. Journal of Aesthetics and Art Criticism 58 (3):227-231.score: 30.0
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  36. Dominic Mciver Lopes (2008). Reference, Ontology, and Architecture: Response to Rafael de Clercq. Journal of Aesthetics and Art Criticism 66 (2):194–196.score: 30.0
  37. D. M. Lopes (2006). Mindsight: Image, Dream, Meaning. Philosophical Review 115 (4):543-545.score: 30.0
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  38. Berys Nigel Gaut & Dominic Lopes (eds.) (2001). The Routledge Companion to Aesthetics. Routledge.score: 30.0
    The Routledge Companion to Aesthetics is an indispensable guide and reference source to the major thinkers and topics in aesthetics. Forty-six new entries by a team of renowned international contributors provide clear and up-to-date entries under four headings: historical, from Plato to Derrida; aesthetic theory, from definitions of art to pictorial representation; issues and challenges, from criticism to feminist aesthetics; and the individual arts, from literature to theatre.
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  39. Dominic McIver Lopes (2003). Pictures and the Representational Mind. The Monist 86 (4):632-652.score: 30.0
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  40. Juliane Strack, Paulo N. Lopes & Francisco Esteves (forthcoming). Will You Thrive Under Pressure or Burn Out? Linking Anxiety Motivation and Emotional Exhaustion. Cognition and Emotion:1-14.score: 30.0
  41. Sarika Cardoso & Harvey James Jr (2012). Ethical Frameworks and Farmer Participation in Controversial Farming Practices. Journal of Agricultural and Environmental Ethics 25 (3):377-404.score: 30.0
    There are a number of agricultural farming practices that are controversial. These may include using chemical fertilizers, pesticides, and herbicides, and planting genetically modified crops, as well as the decision to dehorn cattle rather than raise polled cattle breeds. We use data from a survey of Missouri crop and livestock producers to determine whether a farmer’s ethical framework affects his or her decision to engage in these practices. We find that a plurality of farmers prefer an agricultural policy that reflects (...)
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  42. Wendell Evangelista Soares Lopes (2011). A renovação da teleologia em Hans Jonas. Princípios 17 (28):47-70.score: 30.0
    O presente trabalho visa elucidar a renovaçáo da teleologia no pensamento de Hans Jonas, mostrando como esta ocupa aí duas funções centrais, a saber: pensar uma nova ontologia que atenda de forma mais exata à construçáo de um universo psicofísico e em vir-a-ser; e pensar o dever-ser da humanidade enquanto telos e valor absoluto no processo evolutivo do Ser. Para alcançarmos nosso objetivo, primeiro explicitaremos que o que Jonas designa por "enigma da subjetividade" é o problema fundamental da ontologia, e (...)
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  43. Dominic M. Mciver Lopes (2000). What Is It Like to See with Your Ears? Philosophy and Phenomenological Research 60 (2):439-453.score: 30.0
    Representational theories of mind cannot individuate the sense modalities in a principled manner. According to representationalism, the phenomenal character of experiences is determined by their contents. The usual objection is that inverted qualia are possible, so the phenomenal character of experiences may vary independently of their contents. But the objection is inconclusive. It raises difficult questions about the metaphysics of secondary qualities and it is difficult to see whether or not inverted qualia are possible. This paper proposes an alternative test (...)
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  44. Carlos Henrique & Do Carmo Silva (forthcoming). Heidegger eo Oriente ou da Extrema In-diferenca Ocidental. Revista Portuguesa de Filosofia.score: 30.0
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  45. Dominic McIver Lopes (forthcoming). Aesthetics of Interaction in Digital Art. British Journal of Aesthetics:ayu040.score: 30.0
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  46. Carlos Eduardo Lopes (unknown). Editor de Seção e-mail: caedlopes@ gmail. com. Behavior and Philosophy 28:1 - 40.score: 30.0
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  47. Dominic McIver Lopes & Andrea Naomi Walsh (2009). Objects of Appropriation. In James O. Young & Conrad Brunk (eds.), The Ethics of Cultural Appropriation. Wiley.score: 30.0
  48. António Lopes (2012). Relativo ma non troppo: de novo a favor da Objectividade na Execução Musical. Disputatio 4 (34).score: 30.0
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  49. Jean-Pierre Asselin de Beauville, Jean Tardif, Henri Lopes & Daniel Maximin (2009). Les identités francophones. Rue Descartes 4 (4):68-85.score: 30.0
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  50. José Luís Cardoso (2003). From Natural History to Political Economy: The Enlightened Mission of Domenico Vandelli in Late Eighteenth-Century Portugal. Studies in History and Philosophy of Science Part A 34 (4):781-803.score: 30.0
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