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

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  1.  19
    Henrique Lopes Cardoso & Eugénio Oliveira (2008). Electronic Institutions for B2b: Dynamic Normative Environments. [REVIEW] Artificial Intelligence and Law 16 (1):107 - 128.
    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.  18
    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.
    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.
  4.  1
    Dominic McIver Lopes (2008). II—Dominic McIver Lopes: Virtues of Art: Good Taste. Aristotelian Society Supplementary Volume 82 (1):197-211.
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  5. Elizabeth da Penha Cardoso (2015). O Caminhar Discursivo Do Feminino Em Mãos Vazias, de Lúcio Cardoso. Bakhtiniana 10 (1):57-74.
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  6.  3
    Henrique Lopes Cardoso & Eugénio Oliveira (2008). Electronic Institutions for B2B: Dynamic Normative Environments. [REVIEW] Artificial Intelligence and Law 16 (1):107-128.
    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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  7.  66
    Dominic Lopes (1996). Understanding Pictures. Oxford University Press.
    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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  8.  16
    Dominic McIver Lopes (2005). Sight and Sensibility: Evaluating Pictures. Clarendon Press.
    Images have power - for good or ill. They may challenge us to see things anew and, in widening our experience, profoundly change who we are. The change can be ugly, as with propaganda, or enriching, as with many works of art. Sight and Sensibility explores the impact of images on what we know, how we see, and the moral assessments we make. Dominic Lopes shows how these are part of, not separate from, the aesthetic appeal of images. His (...)
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  9.  6
    Dominic McIver Lopes (2014). Beyond Art. OUP Oxford.
    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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  10. Dominic Lopes (1996). Understanding Pictures. Oxford University Press Uk.
    There is not one but many ways to picture the world - Australian `x-ray' pictures, cubist collages, Amerindian split-style figures, and pictures in two-point perspective each draw attention to different features of what they represent. The premise of Understanding Pictures is that this diversity is the central fact with which a theory of figurative pictures must reckon. Lopes argues that identifying pictures' subjects is akin to recognizing objects whose appearances have changed over time. He develops a schema for categorizing (...)
     
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  11.  1
    Albert Drummond Lopes (2015). A infecção da alma: um estudo do combate à imoralidade no jornal O Diário no período do Estado Novo. Horizonte 13 (37):619-620.
    Dissertação: LOPES, Albert Drummond. A infecção da alma: um estudo do combate à imoralidade no jornal O Diário no período do Estado Novo. 2014. Dissertação , Programa de Pós-graduação em Ciências da Religião, Pontifícia Universidade Católica de Minas Gerais, Belo Horizonte.
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  12. Dominic McIver Lopes (2011). An Empathic Eye. In Amy Coplan & Peter Goldie (eds.), Empathy. Philosophical and psychological perspectives. Oxford Univerity Press
    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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  13. Dominic Lopes (2009). A Philosophy of Computer Art. Routledge.
    What is computer art? Do the concepts we usually employ to talk about art, such as ‘meaning’, ‘form’ or ‘expression’ apply to computer art? _A Philosophy of Computer Art_ is the first book to explore these questions. Dominic Lopes argues that computer art challenges some of the basic tenets of traditional ways of thinking about and making art and that to understand computer art we need to place particular emphasis on terms such as ‘interactivity’ and ‘user’. Drawing on a (...)
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  14.  2
    João Ignacio Lucas Pires (2000). Dependência E Desenvolvimento Na América Latina Despois da Reforma Do Estado. Cinta de Moebio 7.
    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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  15.  23
    Dominic Lopes (2005). Sight and Sensibility. Oxford University Press.
    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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  16.  39
    Jacqueline Gottlieb, Pierre-Yves Oudeyer, Manuel Lopes & Adrien Baranes (2013). Information-Seeking, Curiosity, and Attention: Computational and Neural Mechanisms. Trends in Cognitive Sciences 17 (11):585-593.
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  17.  20
    António Lopes (2014). O Valor da Arte. Compêndio Em Linha de Problemas de Filosofia Analítica.
    O artigo parte do consenso sobre a facto de que a arte tem valor para a exploração dos vários problemas sobre esse valor cujas soluções dividem os filósofos da arte. O enfoque é especialmente sobre a dimensão mais actual do debate em torno do tema, que se debruça não tanto sobre questões como o realismo quanto aos valores estéticos e a objectividade e justificação dos juízos de valor estético, mas acima de tudo sobre a natureza do valor artístico – que (...)
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  18.  7
    Lola L. Lopes (1983). Normative Theories of Rationality: Occam's Razor, Procrustes' Bed? Behavioral and Brain Sciences 6 (2):255.
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  19.  14
    Philippe Vincent‐Lamarre, Alexandre Blondin Massé, Marcos Lopes, Mélanie Lord, Odile Marcotte & Stevan Harnad (2016). The Latent Structure of Dictionaries. Topics in Cognitive Science 8 (3):625-659.
    How many words—and which ones—are sufficient to define all other words? When dictionaries are analyzed as directed graphs with links from defining words to defined words, they reveal a latent structure. Recursively removing all words that are reachable by definition but that do not define any further words reduces the dictionary to a Kernel of about 10% of its size. This is still not the smallest number of words that can define all the rest. About 75% of the Kernel turns (...)
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  20.  37
    Dominic Lopes (2009). A Philosophy of Computer Art. Routledge.
    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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  21. Matthew Kieran & Dominic Lopes (eds.) (2003). Imagination, Philosophy, and the Arts. Routledge.
    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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  22.  91
    Vincent Bergeron & Dominic Mciver Lopes (2009). Hearing and Seeing Musical Expression. Philosophy and Phenomenological Research 78 (1):1-16.
    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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  23. Dominic McIver Lopes (2008). Nobody Needs a Theory of Art. Journal of Philosophy 105 (3):109-127.
    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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  24. Dominic M. M. Lopes (1997). Art Media and the Sense Modalities: Tactile Pictures. Philosophical Quarterly 47 (189):425-440.
    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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  25.  57
    Dominic McIver Lopes (2003). Pictures and the Representational Mind. The Monist 86 (4):632-652.
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  26.  4
    Isaac Goldbring & Vinicius Cifú Lopes (2015). Pseudofinite and Pseudocompact Metric Structures. Notre Dame Journal of Formal Logic 56 (3):493-510.
    The definition of a pseudofinite structure can be translated verbatim into continuous logic, but it also gives rise to a stronger notion and to two parallel concepts of pseudocompactness. Our purpose is to investigate the relationship between these four concepts and establish or refute each of them for several basic theories in continuous logic. Pseudofiniteness and pseudocompactness turn out to be equivalent for relational languages with constant symbols, and the four notions coincide with the standard pseudofiniteness in the case of (...)
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  27.  6
    Lola L. Lopes (1981). Performing Competently. Behavioral and Brain Sciences 4 (3):343-344.
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  28.  43
    Dominic McIver Lopes (2009). Drawing in a Social Science: Lithic Illustration. Perspectives on Science 17 (1):pp. 5-25.
    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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  29.  3
    Dominic McIver Lopes (2016). Nicholas Wolterstorff, Art Rethought: The Social Practices of Art. Reviewed By. Philosophy in Review 36 (5):232-234.
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  30.  66
    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.
    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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  31. Dominic Mciver Lopes (2004). Directive Pictures. Journal of Aesthetics and Art Criticism 62 (2):189–196.
    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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  32. Brian Laetz & Dominic McIver Lopes (2008). Genre. In Paisley Livingston & Carl Plantinga (eds.), The Routledge Companion to Philosophy and Film. Routledge 152-161.
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  33.  54
    Berys Nigel Gaut & Dominic Lopes (eds.) (2001). The Routledge Companion to Aesthetics. Routledge.
    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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  34.  82
    Dominic McIver Lopes (2011). The Myth of (Non-Aesthetic) Artistic Value. Philosophical Quarterly 61 (244):518-536.
    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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  35. Dominic McIver Lopes (2003). The Aesthetics of Photographic Transparency. Mind 112 (447):434--48.
    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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  36.  21
    Lola L. Lopes (1985). Averaging Rules and Adjustment Processes in Bayesian Inference. Bulletin of the Psychonomic Society 23 (6):509-512.
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  37.  63
    Dominic McIver Lopes (2008). Virtues of Art: Good Taste. Aristotelian Society Supplementary Volume 82 (1):197-211.
    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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  38.  6
    António Lopes, Deve a Interpretação Musical Ser Eticamente Condicionada?
    The paper addresses the issue of ethical obligations in the performance of musical works in the Western classical tradition, arguing that there are indeed such obligations, although they are not categorical. -/- PT: Na tradição clássica ocidental, as obras de arte musicais, teatrais e, até certo ponto, as coreografias, são criadas por artistas-autores, mas necessitam de ser executadas por intérpretes (instrumentistas, cantores e maestros, actores e encenadores, bailarinos, etc.). Estes são assim chamados porque existe sempre uma dose de descricionariedade, não (...)
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  39.  19
    Dominic M. Mciver Lopes (2000). What Is It Like to See with Your Ears? Philosophy and Phenomenological Research 60 (2):439-453.
    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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  40. Dominic McIver Lopes (2001). The Ontology of Interactive Art. Journal of Aesthetic Education 35 (4):65-81.
     
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  41.  40
    Dominic Lopes (1995). Pictorial Realism. Journal of Aesthetics and Art Criticism 53 (3):277-285.
    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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  42.  14
    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.
    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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  43.  64
    Dominic M. McIver Lopes (1999). Pictorial Color: Aesthetics and Cognitive Science. Philosophical Psychology 12 (4):415 – 428.
    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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  44.  26
    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.
    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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  45.  15
    Dominic Mciver Lopes (2015). Aesthetic Experts, Guides to Value. Journal of Aesthetics and Art Criticism 73 (3):235-246.
    A theory of aesthetic value should explain the performance of aesthetic experts, for aesthetic experts are agents who track aesthetic value. Aesthetic empiricism, the theory that an item's aesthetic value is its power to yield aesthetic pleasure, suggests that aesthetic experts are best at locating aesthetic pleasure, especially given aesthetic internalism, the view that aesthetic reasons always have motivating force. Problems with empiricism and internalism open the door to an alternative. Aesthetic experts perform a range of actions not aimed at (...)
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  46. Adelino Cardoso (2008). Vida E Percepção de Si: Figuras da Subjectividade No Século Xvii. Edições Colibri.
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  47.  6
    António Lopes (2005). Musical Works and Performance Evaluation. Postgraduate Journal of Aesthetics 2 (2):76-86.
    This paper addresses the following problem: to what extent do ontological considerations about musical works affect our evaluation of performances of those works? I argue for the claim that at least some important grounds on which performances are evaluated are specific to them, in that these grounds are either independent from, or related but not fully determined by, the properties of the works they are of. In the first part of the paper, I explore the relations between good-making features of (...)
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  48.  82
    Dominic Lopes (1992). Pictures, Styles and Purposes. British Journal of Aesthetics 32 (4):330-341.
    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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  49. António Brito Cardoso (1959). Particularidades do grego do" Novo Testamento". Humanitas 11.
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  50.  79
    Dominic Mciver Lopes (2007). The Aesthetic Function of Art. Philosophy and Phenomenological Research 75 (2):484–487.
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