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  1.  84
    How to Test the Ship of Theseus.Marta Campdelacreu Arques, Ramón García Moya, Genoveva Martí & Enrico Terrone - manuscript
    The story of the Ship of Theseus is one of the most venerable conundrums in philosophy. Some philosophers consider it a genuine puzzle. Others deny that it is so. It is, therefore, an open question whether there is or there is not a puzzle in the Ship of Theseus story. So, arguably, it makes sense to test empirically whether people perceive the case as a puzzle. Recently, David Rose, Edouard Machery, Stephen Stich and forty-two other researchers from different countries have (...)
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  2.  45
    The Standard of Correctness and the Ontology of Depiction.Enrico Terrone - forthcoming - American Philosophical Quarterly.
    This paper develops Richard Wollheim’s claim that the proper appreciation of a picture involves not only enjoying a seeing-in experience but also abiding by a standard of correctness. While scholars have so far focused on what fixes the standard, thereby discussing the alternative between intentions and causal mechanisms, the paper focuses on what the standard does, that is, establishing which kinds, individuals, features and standpoints are relevant to the understanding of pictures. It is argued that, while standards concerning kinds, individuals (...)
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  3.  29
    Listening to Other Minds: A Phenomenology of Pop Songs.Enrico Terrone - 2020 - British Journal of Aesthetics 60 (4):435-453.
    This paper explores some phenomenological consequences of the ontological affinity between films and pop songs. Given the central place of the recording technology in both films and pop songs, one can wonder whether pop songs can elicit from their listeners the same kind of experience that films elicit from their spectators. In other words, one can wonder whether pop songs encourage us to play a ‘game of make-believe’ analogous to that we play when we engage with films. The main part (...)
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  4. Introduction.Filippo Contesi & Enrico Terrone - 2018 - Philosophical Papers 47 (1):1-20.
  5.  28
    Imagination and Perception in Film Experience.Enrico Terrone - 2020 - Ergo: An Open Access Journal of Philosophy 7.
    Both perception and imagination seem to play a crucial role in our engagement with fiction films but whether they really do so, and which role they possibly play, is controversial. On the one hand, a fiction film, as film, is a depiction that invites us to perceive the events portrayed. On the other hand, as fiction, it invites us to imagine the story told. Thus, after watching the film Alien, one might say that one saw Ripley fighting the monster but (...)
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  6.  53
    On Fictional Characters as Types.Enrico Terrone - 2017 - British Journal of Aesthetics 57 (2):161-176.
    Conceiving of fictional characters as types allows us to reconcile intuitions of sameness and difference about characters such as Batman that appear in different fictional worlds. Sameness occurs at the type level while difference occurs at the token level. Yet, the claim that fictional characters are types raises three main issues. Firstly, types seem to be eternal forms whereas fictional characters seem to be the outcome of a process of creation. Secondly, the tokens of a type are concrete particulars in (...)
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  7.  59
    Twofileness. A Functionalist Approach to Fictional Characters and Mental Files.Enrico Terrone - forthcoming - Erkenntnis:1-19.
    This paper considers two issues raised by the claim that fictional characters are abstract artifacts. First, given that artifacts normally have functions, what is the function of a fictional character? Second, given that, in experiencing works of fictions, we usually treat fictional characters as concrete individuals, how can such a phenomenology fit with an ontology according to which fictional characters are abstract artifacts? I will indirectly address the second issue by directly addressing the first one. For this purpose, I will (...)
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  8.  29
    Documentaries, Docudramas, and Perceptual Beliefs.Enrico Terrone - 2020 - Journal of Aesthetics and Art Criticism 78 (1):43-56.
    The main accounts of the documentary in contemporary analytic aesthetics have difficulties in dealing with the distinction between documentaries and docudramas. On the one hand, the assertion-based accounts proposed by Carroll, Ponech and Plantinga cannot properly differentiate documentaries from docudramas. On the other hand, Currie’s account can do so by relying on the notion of trace but this involves an undesirable side-effect, namely, the exclusion, from the documentary, of those documentaries that do not include traces of their subjects, as for (...)
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  9.  22
    Blessed Are the Forgetful: Utilitarianism and Remarriage in Eternal Sunshine of the Spotless Mind.Enrico Terrone - 2017 - Film and Philosophy 21:74-90.
    This paper considers two different kinds of philosophical interpretations of the movie Eternal Sunshine of the Spotless Mind. On the one hand, Eternal Sunshine as a thought experiment that can function as an argument against utilitarianism. On the other hand, Eternal Sunshine as an instance of the genre of the remarriage comedy. I will argue that these two kinds of interpretations are in conflict. More specifically, Eternal Sunshine, understood as a comedy of remarriage, cannot function as an argument against utilitarianism, (...)
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  10.  60
    Appearance and History: The Autographic/Allographic Distinction Revisited.Enrico Terrone - 2018 - British Journal of Aesthetics 58 (1):71-87.
    Nelson Goodman notoriously distinguished between autographic works, whose instances should be identified by taking history of production into account, and allographic works, whose instances can be identified independently of history of production. Scholars such as Jerrold Levinson, Flint Schier, and Gregory Currie have criticized Goodman’s autographic/allographic distinction arguing that all works are such that their instances should be identified by taking history of production into account. I will address this objection by exploiting David Davies’ distinction between e-instances and p-instances of (...)
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  11.  1
    M. Ferraris, La Fidanzata Automatica.Enrico Terrone - 2008 - Rivista di Estetica 37:274-278.
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  12. Wittgenstein's Picture Theory of Pictures.Enrico Terrone - 2013 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 6 (1):275-290.
    I rely on Frascolla's interpretation of the Tractatus ontology to develop an account of depiction in which a picture is conceived of as a visual structure constituted by pixels that are conceived of, in their turn, as elementary propositions. Then I argue that such an account is complementary to the considerations about «noticing aspects» in the Philosophical Investigations, to the extent that the visual structure constituted by pixels provides a design allowing the picture’s viewer to notice aspects. Finally I argue (...)
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  13.  25
    The View From Outside On a Distinctively Cinematic Achievement.Mario De Caro & Enrico Terrone - 2016 - Philosophy and Social Criticism 42 (2):154-170.
    What aesthetic interest do we have in watching films? In a much debated paper, Roger Scruton argued that this interest typically comes down to the interest in the dramatic representations recorded by such films. Berys Gaut and Catharine Abell criticized Scruton’s argument by claiming that films can elicit an aesthetic interest also by virtue of their pictorial representation. In this article, we develop a different criticism of Scruton’s argument. In our view, a film can elicit an aesthetic interest that does (...)
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  14.  5
    Istituzioni e pratiche. Le due sfere della realtà sociale.Enrico Terrone - 2018 - Rivista di Estetica 68:27-40.
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  15.  19
    Traces, Documents, and the Puzzle of “Permanent Acts”.Enrico Terrone - 2014 - The Monist 97 (2):161-178.
  16.  12
    The Band of Theseus: Social Individuals and Mental Files.Enrico Terrone - 2017 - Philosophy of the Social Sciences 47 (4-5):287-310.
    Social individuals are social entities having a distinctive individuality, often signaled by the use of a proper name to designate them. This article proposes an account of social individuals based on the notion of a mental file, understood as a repository of information about a single individual. First, I consider a variant of the puzzle of the ship of Theseus in which the object having problematic identity conditions is a social individual, namely, a rock band. Then, I argue that we (...)
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  17.  10
    Ikealismo assoluto.Enrico Terrone - 2015 - Rivista di Estetica 60:135-141.
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  18.  8
    The Digital Secret of the Moving Image.Enrico Terrone - 2014 - Estetika 51 (1):21-41.
    This article addresses the definition of cinema by focusing on the related ontological question of which basic category circumscribes cinematic works. According to Noël Carroll, the definition of cinema consists both of ontological conditions that treat the moving image as a type and of other conditions that treat it as a display. But following Carroll’s ontological conditions, the digital encoding of a moving image enigmatically ends up being both a type and a token. Solving such a puzzle by clarifying the (...)
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  19.  4
    Antidogma.Enrico Terrone - 2015 - Rivista di Estetica:131-139.
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  20.  6
    Che Cosa Esiste Fuori Dal Testo?Enrico Terrone - 2014 - Rivista di Estetica 57:101-120.
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  21.  5
    Mondi incidenti. Una soluzione ontologica al paradosso del cortocircuito rappresentazionale nei film.Enrico Terrone - 2011 - Rivista di Estetica 46:183-196.
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  22.  4
    Marges de la philosophie analytique.Enrico Terrone - 2014 - Rue Descartes 82 (3):140.
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  23.  1
    Maps of the Shared World. From Descriptive Metaphysics to New Realism.Enrico Terrone - 2014 - Philosophical Readings 6 (2):74-86.
    The main aim of this paper is to characterize Maurizio Ferraris’ New Realism as a metaphilosophical account that develops Peter Strawson’s project of a descriptive metaphysics. The paper consists of two sections. The former outlines Strawson’s descriptive metaphysics by highlighting its realist commitments. The latter characterizes New Realism as a way of turning Strawson’s metaphysics into a metaphilosophy. New Realism moves from Strawson’s metaphysical description of the world we share through our experience to the metaphilosophical claim that philosophy should primarily (...)
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  24.  1
    La cineteca di babele. Per Una nuova ontologia Del film.Enrico Terrone - 2009 - Rivista di Estetica 42:97-115.
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  25. Like Giants Immersed in Time. Ontology, Phenomenology, and Marcel Proust.Maurizio Ferraris & Enrico Terrone - 2019 - Rivista di Estetica 70:92-106.
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  26. Towards a Philosophy of Digital Media.Alberto Romele & Enrico Terrone (eds.) - 2018 - Springer Verlag.
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  27. Alessandro Armando E Giovanni Durbiano, Teoria Del Progetto Architettonico. Dai Disegni Agli Effetti.Enrico Terrone - 2018 - Rivista di Estetica 67:230-235.
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  28. L'essere fotografato. Riflessione sugli specchi che scrivono.Enrico Terrone - 2003 - Rivista di Estetica 43 (23):139-159.
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