Introduzione.--Federico Enrico Jacobi.--Carlo Leonardo Reinhold.--Enesidemo (Graziadio Ernesto Schulze).--Sigismondo Beck.--Salomone Maimon.--Conclusione.

Starting from the first centenary of Carlo Cattaneo's birth in 1901, the Author reviews the publication of his works in concomitance with the interpretation and diffusion of his thinking. From the first ample collection of writings, down to Bertani and other friends, to the anthology by Gaetano Salvemini, from Alessandro Levi's monograph to the interpretations of Norberto Bobbio and Luigi Ambrosoli, the article shows the interweaving between the exegesis and the piecing together of Cattaneo's dispersed works, the complete (...) retrieval of which is being undertaken by the Italo-Swiss Committee set up in 1946. It ends with the new national edition of his works, which on the occasion of the 150th anniversary of his death in 2019 saw the publication of the fourth volume of his Lettere, the eighth volume in the entire collection. (shrink)

Facts happen at every interaction, but they are not absolute: they are relative to the systems involved in the interaction. Stable facts are those whose relativity can effectively be ignored. In this work, we describe how stable facts emerge in a world of relative facts and discuss their respective roles in connecting quantum theory and the world. The distinction between relative and stable facts resolves the difficulties pointed out by the no-go theorem of Frauchiger and Renner, and is consistent with (...) the experimental violation of the Local Friendliness inequalities of Bong et al.. Basing the ontology of the theory on relative facts clarifies the role of decoherence in bringing about the classical world and solves the apparent incompatibility between the ‘linear evolution’ and ‘projection’ postulates. (shrink)

The Timaeus is the dialogue that was for many centuries the most influential of Plato’s works. Among its readers we find Descartes, Boyle, Kepler and Heisenberg. In the first division of Timaeus Plato deals with the theory of celestial motion, in the second he presents us with the first mathematical theory of the structure of matter. Here, in a gigantic step forward with respect to the preceding Democritean atomistic theory with its unalterable micro-entities, he introduces the intertransformability of elementary corpuscles (...) and with that the first “chemical” reactions in history. Plato’s geometrical interpretation of Empedocles’ elements and his geometrical atomism is described at the molecular, atomic and sub-atomic level. The “chemical” reactions reported in Timaeus are written in the enlightening chemical symbolism, analogies with modern chemistry are noticed throughout. (shrink)

En este artículo se revisa el lugar que ocupa Eckhart en L’essence de la manifestation, a fin de establecer correspondencias y afini­dades entre el místico renano y la peculiar concepción que de la fenomenología sostiene Michel Henry. Se trata de analizar la es­trecha cercanía entre el alma humana y Dios postulada por Meister Eckhart y su vinculación con la conocida noción de Vida presente en el autor francés. Henry es proclive a fundar una filosofía primera asociada a la pura autoafección, (...) describiendo la Vida sea como pura inmanencia, sea como una ipseidad algo problemática. En general, el trabajo teórico de los representantes del “giro teológico de la fenomenología francesa” (Janicaud) cuestiona al sujeto clásico de la Modernidad, sin por eso traer a colación la causa de un Dios Revelado ni el que resulta de una teología natural. Este trabajo, en suma, no es el esfuerzo de pensar a un Dios confesional ni tiene un propósito evangélico. Lejos de ello, se trata de precisar el nexo entre Henry y Eckhart, puesto en escena por aquél, y si tal nexo es coherente con lo que Henry piensa acerca de un modo de manifestación que ya no implica distancia fenomenológica alguna: la manifestación del pathos de la Vida. (shrink)

Il saggio approfondisce l’opera di due artisti fondamentali degli ultimi decenni, ovvero Antoni Tàpies e Bill Viola. La loro produzione artistica riesce a sfuggire alla condanna che Th. W. Adorno fa di tutti quei movimenti che rimettono in questione il concetto di arte e la nozione di opera. Questi due artisti salvano lo statuto dell’arte nella società post-industriale, vale a dire in un momento in cui le trasformazioni profonde del sistema culturale rischiano di minacciare la sopravvivenza della creazione artistica, come (...) se la razionalità estetica non potesse che abdicare davanti alla razionalità strumentale. Sono pochi i pittori che come Antoni Tàpies riescono a infondere alla materia inanimata un’irradiazione e una capacità di evocazione tanto intense, mentre per Bill Viola tutte le opere d’arte rappresentano cose invisibili e la stessa tecnologia digitale non è altro che una forma più pura per avvicinarsi a quelle realtà non fisiche e non visibili che stanno sotto alle cose visibili del mondo. La scommessa di Tàpies e Viola riguarda la sopravvivenza dell’arte nell’universo mercantile di una società sempre più amministrata e sottoposta agli imperativi economici; la loro produzione pare mirata a renderci consapevoli della nostra mortalità, offrendo immagini in grado di mettere in connessione la dimensione sensibile e quella spirituale, il visibile e l’invisibile, aprendo lo spazio a una trascendenza che sembrava completamente svanita. (shrink)

We present a uniform version of Di Nola Theorem, this enables to embed all MV-algebras of a bounded cardinality in an algebra of functions with values in a single non-standard ultrapower of the real interval [0,1]. This result also implies the existence, for any cardinal α, of a single MV-algebra in which all infinite MV-algebras of cardinality at most α embed. Recasting the above construction with iterated ultrapowers, we show how to construct such an algebra of values in a definable (...) way, thus providing a sort of “canonical” set of values for the functional representation. (shrink)

En este artículo se analiza la noción de fenómeno saturado en el pensamiento de Marion, pero, ante todo, y relacionado con dicho fenómeno, el tipo de sujeto que corresponde a la afectación saturante. La discusión se centra en la superación de la figura del Yo trascendental, y de la Modernidad en general, para dar lugar a un sujeto disminuido, a una diminutio ipseitatis, debida fundamentalmente a una iniciativa que, alega Marion, no proviene tanto del sujeto afectado, cuanto del fenómeno que (...) lo afecta. Desalojado de su formidable centro, el sujeto kenotizado emprende una clase de recreación bastante peculiar, la cual consiste en el conjunto de respuestas que habrá de ofrecer a la densidad del fenómeno mencionado. El sujeto se recibe de lo que recibe. En una hermenéutica sucesiva que retoma la afectación, tendrá que hacerse cargo del golpe de lo dado, es decir, de aquello que lo afecta, pero no exactamente de la manera como afectan los objetos a un sujeto cognoscente. A la pregunta de Nancy “¿qué viene después del sujeto?”, hay que responder sin ninguna hesitación: el sujeto, empero ahora disminuido en su capacidad creadora de mundo a través de la síntesis trascendental: l’adonné, el adonado. (shrink)

The paper aims at highlighting what the author considers to be the most significant philosophical articulations of Shakespeare’s Hamlet, whose power of attraction is largely conditioned by his own obscure nature. Starting from the reading of some famous interpreters such as Bonnefoy, Cavell, Girard, Schmitt and Vygotsky, through the themes of revenge, silence, and the collapse of values, it is emphasized how, in the drama, the acceptance of death becomes a sign of the indifference of the world and therefore of (...) the insufficiency of meaning. In particular Hamlet’s statement “I don’t know it seems”, is explained by the fact that his world is completely different from that of others. This expression should be seen, then, as a kind of preliminary description of his general way of perceiving things. Starting from the famous scene of “theatre in theatre”, and in a constant confrontation with Adorno’s aesthetics, the article aims at pointing out the different ideas of theatre that face each other in the drama. The idea of theatre supported by Hamlet, however, based on the size of the logos, is not at all the one adopted by Shakespeare, since his style is based on the immoderation, the excess and the irruption of the pathos. Hamlet is not even the place for that extreme act of faith that emerges at the end of King Lear: here hopes are shattered over a world totally abandoned to nonsense. For this reason, the only possibility of redemption is offered by “being ready” rather than by “being mature” as professed by Edgar. (shrink)

In experimental economics one can confront a “don’t!”, as in “do not deceive your participants!”, as well as a “do!”, as in “incentivize choice making!”. Neither exists in experimental psychology. Further controversies exist in data collection methods, e.g., play strategy (vector) method in game experiments, and how to guarantee external and internal validity by describing experimental scenarios by field-related vignettes or by abstract, often formal, rules as it is used in decision and game theory. We emphasize that differences between the (...) experimental methodology of the two disciplines are minor rather than substantial and suggest that such differences should be resolved, as much as possible, through empirical research. Rather than focusing on familiar debates, we suggest to substitute the revealed-motive approach in experimental economics by designs whose data not only inform about choice, but also about the reasoning dynamics. (shrink)

Este trabajo, desarrollado en el contexto del giro teológico de la fenomenología francesa, reflexiona sobre la significación de la Vida en Michel Henry, Vida y pasividad que no resultan de la volición de un sujeto moderno que parecería haber sido hoy superado. Estamos en los umbrales de una filosofía primera que no deja absolutamente de lado la intencionalidad de otrora, así como su carácter activo en la donación de significado, pero subordina ambos a un fundamento primero, único e irreductible: la (...) Vida. Hemos titulado este trabajo Gloria de la pasividad puesto que, en efecto, el ego no aparece como el artífice originario de la constitución del mundo, de sus significados y de sus idealidades. Una pasividad primitiva del sujeto antecedería al ego constituyente de la fenomenología clásica, una pasividad viejísima, que no cabría, sin lugar a duda, en ninguna memoria. No hemos querido, sin embargo, introducirnos al pensamiento de Henry sin antes darnos una idea de lo que significa la pasividad del sujeto reflejada en algunas líneas de Marion, cuya comprensión se da en el marco de una fenomenología de lo invisible y de una fenomenología abierta al exceso de evidencia. (shrink)

Examples are given of applications by Pauling, Mulliken, Marcus and G.E.Kimball of the three Pythagorian means to formulate the scales of electronegativity of the elements, to the calculations of rate constants of electron transfer cross-reactions, to the calculation of the observed rate constant as function of activation and diffusion rate constants in the case of mixed reaction-diffusion rates and to the calculation of the effective diffusion coefficient in solution of a salt AB as a whole from the diffusion coefficients of (...) the ions in which it dissociates. (shrink)

Professor Rudolph A. Marcus, recipient of the 1992 Nobel Prize in Chemistry, is a distinguished theoretical chemist. Two important theories happen to bear his name: the Rice Ramsperger Kassel Marcus theory of unimolecular reactions and the Marcus theory of electron transfer reactions. When considering Marcus’ work, one finds characteristics of it that bear striking similarity to those that can be found in the work of some famous scientists. Such characteristics appear then as common recurring patterns in the work of theoreticians. (...) Among them we find the following: the creation of new theories, driven by experiments that preceding theories were unable to explain; the use of thought experiments; the generalization and extensions from one realm of science to another; the making of predictions and the finding of new properties from correlations among series of data; the use of variational principles; the providing of different demonstrations of an equation; the introduction of new types of coordinates; the innovative capacity to use, by somehow recreating it under the pressure of the physical problem, a mathematical method previously unknown to the author; and finally, the presentation of formulations of the same theory in different mathematical and physical languages. Before discussing in some detail the above points, a brief description of Marcus’ work is first presented for the convenience of the reader. (shrink)

This essay shows how, in Shakespeare’s Antony and Cleopatra, the relation between the protagonists can be seen as an insurmountable contrast between two different cultures – on the one hand, the “diurnal” and “rational” culture of Rome and, on the other hand, the “nocturnal” and “passionate” culture of Egypt –, but also as an opposition between two different ways of understanding the relation between illusion and reality, appearance and truth, and thus between theatre and life. More specifically, what emerges is (...) the awareness that art, embodied in Cleopatra’s beauty, constantly reminds us of the unredeemable finitude and transience of the human being, who is inevitably immersed in time. In this light, if art is able to become a manifestation of truth, the fact remains that such truth, as final sense, is something that art can “show”, but only to indicate its perpetually elusive character. It is indeed a truth which, like the indecipherable secret kept in the Mausoleum, cannot be “told” or “represented” once and for all. (shrink)

The essay proposes a notion of “icon” understood, according to the paradigm born of the Second Council of Nicaea, as a visible image of the invisible qua invisible. In this light, the distinctive feature of the icon-image is its ability to manifest the paradoxical identity-difference relationship that links visible and invisible, and, consequently, representable and unrepresentable, immanence and transcendence, eternity and time. By offering itself as the privileged place for the presentation of an absence and of a “withdrawal”, the icon (...) is distinguished in the first place by its apophatic and kenotic character. In this sense, the salient trait of the icon is its constitutive disquiet: it is founded on the “relational economy” of the image, which implies the need of an incessant articulation of the relation between visible and invisible. We can thus see in the icon the paradigm itself of “great art”: indeed, like the icon, great art is always primarily characterised by its disquiet, that is its ability to make transcendence appear in immanence, the Other of the visible appear in the visible. (shrink)

We start from Marra–Spada duality between semisimple MV-algebras and Tychonoff spaces, and we consider the particular cases when the \-skeleta of the MV-algebras are restricted in some way. In particular we consider antiskeletal MV-algebras, that is, the ones whose \-skeleton is trivial.

We revisit the sequential search problem by Hey. In a 2 ×\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$$\times $$\end{document} 2 factorial design, varying fixed and random cost treatments with and without recall, we address open research questions that were originally stated by Hey. Our results provide clear evidence for Hey’s conjecture that recall negatively affects performance in sequential search. With experience, however, search behavior with and without recall converges toward the optimal reservation rule. We further find that (...) the utilization of optimal reservation rules is independent from the stochastic nature of the search cost. (shrink)

Promotreno iz etimološke perspektive, Petrićev Sretan grad, objavljen između Utopije T. Morea i La città del Sole T. Campanelle, crpi svoje polazište i ključno značenje upravo iz etimologije nazivka ‘sretan’. Taj nazivak sadržava dvojnost, koja je poslužila Petrićevoj zamisli: kao što se čovjek sastoji od duše i tijela, tako se dvojnost uočava i ponavlja u raznim strukturama grada-države. S jedne strane felice znači ‘produktivan’ i ‘uspješan’, a s druge strane pak ‘sretan’ te kod Petrića i ‘blažen’. Stupnjevanje u razumijevanju sreće (...) kod Petrića znači da je njegov grad-država uspješan i blažen, pa se sudjelovanje svih staleža društva sagledava u okviru praktičnog organiziranja društvenog života dvostruko sretnog grada.This paper deals with the etymology, and consequently with the meaning of Frane Petrić’s Happy Town : written after Thomas More’s Utopia and before Tomaso Campanella’s The City of the Sun, Petrić’s Happy Town has its datum-point and key meaning in the etymology of the term felice. This term contains the duality constantly pointed out in Petrić’s conception: since the human being consists of body and soul, the duality is noted and repeated through various structures of this town-state. The term felice means ‘productive’, ‘successful’, ‘happy’, and it has to do with Petrić’s concept of ‘blessedness’ as well. The gradation of the meaning of the term felice explains the fact that Petrić’s town is successful-happy and happy-blessed. All the social levels are part of the productiveness > blessedness process of Petrić’s twice Happy Town. (shrink)

In this paper we first provide a new axiomatization of algebraically closed MV-algebras based on McNaughtonʼs Theorem. Then we turn to sheaves, and we represent algebraically closed MV-algebras as algebras of global sections of sheaves, where the stalks are divisible MV-chains and the base space is Stonean.

If today a decidedly analytical interpretation of Wittgenstein’s thought seems to be dominant in many ways, there are, in my opinion, countless reasons that lead instead to reintroduce the possibility, and even the opportunity, of a different reading: a proper philosophical-aesthetic reading – where “philosophical” is equivalent to “transcendental” in the Kantian sense – which certainly seems to me more productive in theoretical terms.

Este trabajo aborda la visión arendtiana de la política, entendida como mundo humano común y mantenido en común a través del discurso. La sociedad como lenguaje se aparta de la peligrosa posibilidad de la unicidad discursiva en la vida política. La abolición de la pluralidad se encuentra en las antípodas del pensamiento de Arendt. Su telos es, más bien, contra toda figura totalitaria, la reivindicación de una política ceñida a la esencial relatividad de la doxa. El �nosotros� de la política (...) se produce así en la confluencia de perspectivas particulares. Habermas se opone par- cialmente a Arendt, pues asume que su perspectiva carece de un canon ideal que permita distinguir un falso acuerdo de un acuerdo genuino. (shrink)