7 found

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  1. Lorenzi, G., Book Review “Musical Ontology: A Guide for the Perplexed” by Lisa Giombini, Milano: Mimesis International, 2017, Pp. 374. [REVIEW]Giulia Lorenzi - 2020 - Argumenta 11.
     
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  2.  61
    Game Counterpossibles.Felipe Morales Carbonell - 2020 - Argumenta 6 (1):117-133.
    Counterpossibles, counterfactuals conditional with impossible antecedents, are notoriously contested; while the standard view makes them trivially true, some authors argue that they can be non-trivially true. In this paper, I examine the use of counterfactuals in the context of games, and argue that there is a case to be made for their non-triviality in a restricted sense. In particular, I examine the case of retro problems in chess, where it can happen that one is tasked with evaluating counterfactuals about illegal (...)
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  3.  98
    Experiments in Visual Perspective: Size Experience.Brentyn Ramm - 2020 - Argumenta 5 (5):263-278.
    Phenomenal objectivism explains perceptual phenomenal character by reducing it to an awareness of mind-independent objects, properties, and relations. A challenge for this view is that there is a sense in which a distant tree looks smaller than a closer tree even when they are the same objective size (perceptual size variation). The dual content view is a popular objectivist account in which such experiences are explained by my objective spatial relation to the tree, in particular visual angle (perspectival size). I (...)
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  4. Metaphysics at the Table.Nicola Piras, Donatella Donati & Andrea Borghini - 2020 - Argumenta 2 (10):179-184.
    Contemporary philosophers have studied food and its consumption from several disciplinary perspectives, including normative ethics, bioethics, environmental ethics, political philosophy, epistemology, and aesthetics. Many questions remain, however, underexplored or unaddressed. It is in the spirit of contributing to fill in these scholarly gaps that we designed the current issue, which represents the first collection of papers dedicated to food from a perspective of analytic metaphysics. Before presenting the five papers published in this issue, we shall briefly frame the current research (...)
     
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  5.  90
    Can Unmodified Food Be Culinary Art?Sara Bernstein - 2020 - Argumenta 2 (5):185-198.
    You are sitting in Chez Panisse, Alice Waters’ acclaimed restaurant in Berkeley, California. After an extensively prepared, multi-course meal, out comes the dessert course: an unmodified but perfectly juicy, fresh peach. Many chefs serve such unmodified or barely-modified foods with the intention that they count as culinary art. This paper takes up the question of whether unmodified foods, served in the relevant institutional settings, can count as culinary art. I propose that there is a distinctive form of aesthetic trust involved (...)
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  6.  31
    Spoiler Alert! Unveiling the Plot in Thought Experiments and Other Fictional Works.Daniele Molinari - 2020 - Argumenta 1 (11):81-97.
    According to a recent philosophical claim, “works of fiction are thought experiments” (Elgin 2007: 47), though there are relevant differences, as the role of spoilers shows—they can ruin a novel but improve the understanding we can gain through a thought experiment. In the present article I will analyze the role of spoilers and argue for a more differentiated perspective on the relation between literature and thought experiments. I will start with a short discussion of different perspectives on thought experiments and (...)
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  7.  2
    Fiction, Imagination, and Normative Rationality.Malvina Ongaro - 2020 - Argumenta 1 (6):135-146.
    -/- Rationality is a cornerstone of economics. The properties defining rationality are embodied by the Rational Agent, whose actions are prescriptive for economic agents. However, the Rational Agent is a fictional character: so why should real agents act like it? The Rational Agent takes its normative force from the arguments in support of the properties it embodies. In this paper, I explore the grounds for the normative force of the Rational Agent by looking at one of them. I explain the (...)
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