We have recently developed a new understanding of probability in quantum gravity. In this paper we provide an overview of this new approach and its implications. Adopting the de Broglie–Bohm pilot-wave formulation of quantum physics, we argue that there is no Born rule at the fundamental level of quantum gravity with a non-normalisable Wheeler–DeWitt wave functional \(\Psi\). Instead the universe is in a perpetual state of quantum nonequilibrium with a probability density \(P\ne \left| \Psi \right| ^{2}\). Dynamical relaxation to the (...) Born rule can occur only after the early universe has emerged into a semiclassical or Schrödinger approximation, with a time-dependent and normalisable wave functional \(\psi\), for non-gravitational systems on a classical spacetime background. In that regime the probability density \(\rho\) can relax towards \(\left| \psi \right| ^{2}\) (on a coarse-grained level). Thus the pilot-wave theory of gravitation supports the hypothesis of primordial quantum nonequilibrium, with relaxation to the Born rule taking place soon after the big bang. We also show that quantum-gravitational corrections to the Schrödinger approximation allow quantum nonequilibrium \(\rho \ne \left| \psi \right| ^{2}\) to be created from a prior equilibrium ( \(\rho =\left| \psi \right| ^{2}\) ) state. Such effects are very tiny and difficult to observe in practice. (shrink)

We investigate whether small perturbations can cause relaxation to quantum equilibrium over very long timescales. We consider in particular a two-dimensional harmonic oscillator, which can serve as a model of a field mode on expanding space. We assume an initial wave function with small perturbations to the ground state. We present evidence that the trajectories are highly confined so as to preclude relaxation to equilibrium even over very long timescales. Cosmological implications are briefly discussed.

One of the main characteristics of the contemporary aesthetic debate is the recovery of the concept of mimesis, as a dimension that is originally involved in the foundation of human culture and the processes of cultural learning. This is evident in the aesthetic reflection developed by Gunter Gebauer and Christoph Wulf. For these two authors, mimesis is never a mere reproduction of the given reality, but always implies the production of the New, of the Other, of the different with respect (...) to the empirical world, i.e. to the existing categorical order of the world. In particular, Gebauer and Wulf underline the constitutive ambivalence of the notion of mimesis: on the one hand, it favors the processes of reification fueled by capitalist society and, on the other hand, it contributes to the affirmation of a critical and “utopian” instance that can counter “instrumental reason” and the primacy of identity. (shrink)

The paper proposes a focus upon the notion of “aura” as it emerges from the work of Baudelaire. In particular, the paper shows how the relevance of such a work lies precisely in its capacity to critically interrogate the relationship between art, aura and modernity: in its capacity to exhibit exemplary, on the one hand, the irremediable decline of aura understood as “uniqueness” and “originality” of the artwork (therefore, the aura as expression of a sense given once and for all) (...) and, on the other hand, the possible survival of an aura conceived rather as appearance of an inaccessible “distance”, and then of an irreducible otherness. From this point of view, in staging a short-circuit between spleen and idéal, i.e between “myth” and “hope”, the Baudelairian artistic form offers itself to us as an expression of authentic “auratisation of the datum”. (shrink)

«Tu ne pourras voir mon visage, parce que personne ne peut me voir et demeurer vivant» . La théologie de Jean nous explique que le visage du Père se révèle en Jésus, conséquence de la foi en l'Incarnation. Mais Lessing, en plein siècle des Lumières, dénonçait le large fossé séparant le Christ de la foi du Jésus de l'histoire. L'A. propose une enquête christologique, qui va de l'Illuminisme à nos jours, pour déterminer ce qu'il nous reste de la recherche du (...) visage de Jésus, sur la base des nombreux portraits qu'offrent les Ecritures. La leçon qui en ressort est que Jésus Christ ne se prête à aucune forme de manipulation fondée sur des idéologies philosophiques ou des préjudices historiques. Les Ecritures doivent être comprises dans le même esprit avec lequel elles ont été écrites. (shrink)

The paper proposes a new understanding of the relationship that links philosophy and literature, assuming the Greek tragedy of the 5th century BC as the exemplary occasion for the development of this enquiry. In this perspective, moving from the original interpretation of the tragedy recently offered by Pierre Judet de La Combe, the paper shows how the specific cognitive function of the tragedy, understood as “artistic form”, consists in its ability to bring to manifestation, in exemplary way, the “conditions of (...) sense” that make possible any knowledge of experience, with the consciousness of the aesthetical-imaginative and not logical-conceptual character of these same conditions. From this point of view, the critical and reflexive function of the tragedy is due – according to the Adornian interpretation – to the autonomy of the “form”, i.e. to the sensible configuration of the tragedy. What emerges, here, is the “non-reproductive” but “productive” nature of the tragic form: what it offers to the spectator is not the representation of a sense already given in the world, but rather an “indefinite opening to meaning”, i.e. a form able to construct an indeterminate multiplicity of “possibilities of sense”. (shrink)

The paper proposes a focus upon the notion of “aura” as it emerges from the work of Baudelaire. In particular, the paper shows how the relevance of such a work lies precisely in its capacity to critically interrogate the relationship between art, aura and modernity: in its capacity to exhibit exemplary, on the one hand, the irremediable decline of aura understood as “uniqueness” and “originality” of the artwork (therefore, the aura as expression of a sense given once and for all) (...) and, on the other hand, the possible survival of an aura conceived rather as appearance of an inaccessible “distance”, and then of an irreducible otherness. From this point of view, in staging a short-circuit between spleen and idéal, i.e between “myth” and “hope”, the Baudelairian artistic form offers itself to us as an expression of authentic “auratisation of the datum”. (shrink)

The purpose of the paper is to show how the reading of Kafka’s Prometheus offered by Hans Blumenberg in Arbeit am Mythos authorizes a re-understanding of this short story as a device within which the meta-representative moment and the questioning moment are configured as two indissolubly linked aspects. In this perspective, starting from the recognition of the key role played by the mechanism of irony in the construction of the Kafkaesque short story, the article aims to highlight the three different (...) levels of articulation of such a mechanism, with particular reference to its ability to exhibit – at the same time – the transcendibility of the datum and the need to think the sense as «infinite deferral». (shrink)

Cognitive Science, Volume 45, Issue 11, November 2021.