In recent years two different axiomatic characterizations of the intuitive concept of effective calculability have been proposed, one by Sieg and the other by Dershowitz and Gurevich. Analyzing them from the perspective of Carnapian explication, I argue that these two characterizations explicate the intuitive notion of effective calculability in two different ways. I will trace back these two ways to Turing’s and Kolmogorov’s informal analyses of the intuitive notion of calculability and to their respective outputs: the notion of computorability and (...) the notion of algorithmability. I will then argue that, in order to adequately capture the conceptual differences between these two notions, the classical two-step picture of explication is not enough. I will present a more fine-grained three-step version of Carnapian explication, showing how with its help the difference between these two notions can be better understood and explained. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 31-45 [Access article in PDF] Antonio Gramsci on Surrealism and the Avant-garde E. San Juan, Jr. Surrealism provided me with what I had been confusedly searching for. I have accepted it joyfully because in it I have found more of a confirmation than a revelation. It was a weapon that exploded the French language. It shook up absolutely everything....A process of disalienation, (...) that's how I interpreted surrealism. 1In the spring of 1919, André Breton and Phillipe Soupault conducted various experiments in automatic writing. They converted themselves into machines to record the whispers of the unconscious, inspired by Rimbaud's urge for adventure in quest of cosmic knowledge and Lautreamont's conviction of art as a communal enterprise. To destroy bourgeois morality and class inequality, uphold the freedom of the imagination, and release the libidinal energies dammed up in the psyche, surrealism — Guillaume Appolinaire's term 2 — was invented from the nihilistic ruins of Dada to lay the groundwork for building a society founded on liberty and justice. In the same year the Italian Marxist Antonio Gramsci founded the innovative journal, L'Ordine Nuovo and advocated the factory council (modeled after the Russian Soviets) as the germ of an emergent communist society. Both initiatives were pathbreaking in challenging the orthodoxies of modernist bourgeois culture, politics, and philosophy.When Breton published his 1924 "First Manifesto of Surrealism" privileging dreams, the unconscious, the fantastic, and marvelous, Gramsci was the principal leader of the Communist Party of Italy spearheading the opposition to Mussolini's fascist takeover. Two years later, Gramsci was arrested and imprisoned until his death in 1937. In the Prison Notebooks that occupied him while in jail, Gramsci does not — as far as I am aware — refer to Breton or to surrealism directly. But in his scattered reflections on modern art and culture in general, and in his particular observations on Italian futurism (in particular, on Filippo Marinetti and Luigi Pirandello), we can [End Page 31] extrapolate the general approach Gramsci would take toward surrealism and avantgarde art as oppositional cultural practices. This exercise may clarify what a revolutionary Marxist position should be toward the philosophical or pedagogical category of the aesthetic within the field of cultural practice and artistic production, especially in the post-Cold War epoch of nation-state realignments and the reconfiguration of globalized finance capital in the new millennium.All commentators agree that Gramsci viewed the aesthetic as a category within the terrain of historical materialism and the political economy ofvalue in general. Artistic values are rooted in the social and material practices of a specific society which defines the limits of conventional artistic forms and the subject matter available to the artist. Vision or intuition and diverse raw materials (language, sounds, dance movements, and filmic images) are indissociable. Contrary to Benedetto Croce's emphasis on transcendental intuition, Gramsci valorizes the materialization of this intuition into perceptible, sensory structure, an architectonic whole produced by intellectual discipline and shaped by an integral worldview. In short, for Gramsci, the work of art is the historicization and objectification of vision/intuition.Gramsci's conception of Marxism stresses its intrinsic dialectical method, its emphasis on processes and relations within a social formation comprised of multilayered modes of production, given the necessarily uneven development of capitalism. This mode of historicizing life not only to interpret but to change it is a guide for collective action, not a dogmatic party line. "Man 'is' precisely the process of his actions," Gramsci writes, and "relative to what we have thought and seen, we seek to know what we are and what we can become, whether it is true and within what limits that we do 'make ourselves,' create our own lives and our own destinies." 3 Here, knowledge and action are oriented toward linking the past with the present in order to fashion the future. The chronotope of revolution is essentially a collage, more precisely a montage, of transformations that amalgamates contraries, oppositions, disparities.While Gramsci did not endorse Freudian theory completely except by... (shrink)

Nico De Federicis - Lezioni su Leibniz - Journal of the History of Philosophy 40:3 Journal of the History of Philosophy 40.3 401-402 Book Review Lezioni su Leibniz Luigi Scaravelli. Lezioni su Leibniz . Edited by Gianfranco Brazzini. Soveria Mannelli: Rubbettino, 2000. Pp. 260. 15.49. Lectures on Leibniz publishes a series of lectures, edited by Gianfranco Brazzini, that were held by Luigi Scaravelli at the University of Pisa in the Academic year 1953/54. Scaravelli was a major ill-starred Italian (...) scholar. Although probably the most significant philosopher in Italy after the death of Benedetto Croce, he nevertheless remained quite unknown. This collection of lectures offers an exceptional opportunity for insight into Scaravelli's philosophical approach. The.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 31-45 [Access article in PDF] Antonio Gramsci on Surrealism and the Avant-garde E. San Juan, Jr. Surrealism provided me with what I had been confusedly searching for. I have accepted it joyfully because in it I have found more of a confirmation than a revelation. It was a weapon that exploded the French language. It shook up absolutely everything....A process of disalienation, (...) that's how I interpreted surrealism. 1In the spring of 1919, André Breton and Phillipe Soupault conducted various experiments in automatic writing. They converted themselves into machines to record the whispers of the unconscious, inspired by Rimbaud's urge for adventure in quest of cosmic knowledge and Lautreamont's conviction of art as a communal enterprise. To destroy bourgeois morality and class inequality, uphold the freedom of the imagination, and release the libidinal energies dammed up in the psyche, surrealism — Guillaume Appolinaire's term 2 — was invented from the nihilistic ruins of Dada to lay the groundwork for building a society founded on liberty and justice. In the same year the Italian Marxist Antonio Gramsci founded the innovative journal, L'Ordine Nuovo and advocated the factory council (modeled after the Russian Soviets) as the germ of an emergent communist society. Both initiatives were pathbreaking in challenging the orthodoxies of modernist bourgeois culture, politics, and philosophy.When Breton published his 1924 "First Manifesto of Surrealism" privileging dreams, the unconscious, the fantastic, and marvelous, Gramsci was the principal leader of the Communist Party of Italy spearheading the opposition to Mussolini's fascist takeover. Two years later, Gramsci was arrested and imprisoned until his death in 1937. In the Prison Notebooks that occupied him while in jail, Gramsci does not — as far as I am aware — refer to Breton or to surrealism directly. But in his scattered reflections on modern art and culture in general, and in his particular observations on Italian futurism (in particular, on Filippo Marinetti and Luigi Pirandello), we can [End Page 31] extrapolate the general approach Gramsci would take toward surrealism and avantgarde art as oppositional cultural practices. This exercise may clarify what a revolutionary Marxist position should be toward the philosophical or pedagogical category of the aesthetic within the field of cultural practice and artistic production, especially in the post-Cold War epoch of nation-state realignments and the reconfiguration of globalized finance capital in the new millennium.All commentators agree that Gramsci viewed the aesthetic as a category within the terrain of historical materialism and the political economy ofvalue in general. Artistic values are rooted in the social and material practices of a specific society which defines the limits of conventional artistic forms and the subject matter available to the artist. Vision or intuition and diverse raw materials (language, sounds, dance movements, and filmic images) are indissociable. Contrary to Benedetto Croce's emphasis on transcendental intuition, Gramsci valorizes the materialization of this intuition into perceptible, sensory structure, an architectonic whole produced by intellectual discipline and shaped by an integral worldview. In short, for Gramsci, the work of art is the historicization and objectification of vision/intuition.Gramsci's conception of Marxism stresses its intrinsic dialectical method, its emphasis on processes and relations within a social formation comprised of multilayered modes of production, given the necessarily uneven development of capitalism. This mode of historicizing life not only to interpret but to change it is a guide for collective action, not a dogmatic party line. "Man 'is' precisely the process of his actions," Gramsci writes, and "relative to what we have thought and seen, we seek to know what we are and what we can become, whether it is true and within what limits that we do 'make ourselves,' create our own lives and our own destinies." 3 Here, knowledge and action are oriented toward linking the past with the present in order to fashion the future. The chronotope of revolution is essentially a collage, more precisely a montage, of transformations that amalgamates contraries, oppositions, disparities.While Gramsci did not endorse Freudian theory completely except by... (shrink)

Sezione 1. Sullo sviluppo del concetto di creazione. L'idealismo magico. Creation, idealism and a new aestheicism.--sezione 2. Estetismo assoluto-una teoria della scienza. Coscienza ed energia-sul problema del rapporti tra psicologia e fiscia. Le monde n'est-il qu' un rêve? Vie et esthéticité. Aestetismus und der Ernst des Lebens (aus zwei Briefen).

I agree with Capra that autopoiesis is the signature of life and that Maturana did well to reject Cartesian dualism. Contrary to how mainstream biology defines life, I point out that reproduction is a consequence of life, not its origin. Furthermore, I address the questions of whether both autopoiesis and cognition together are necessary for life and whether autopoiesis can be extended beyond the molecular domain. I also have words of criticism for Maturana, who called for “objectivity” to be put (...) in parentheses, and conclude with a reminder that it was Varela who was instrumental in making autopoiesis a household term. (shrink)

Dans l'œuvre immense de Benedetto Croce (1866-1952) l'esthétique occupe une place centrale. Philosophe peu orthodoxe inspiré par les pensées de Kant et de Vico il a profondément marqué la culture italienne. Associé souvent à Gentile avec lequel il a rompu en 1925, en s'opposant au fascisme, il a réfléchi toute sa vie à une philosophie immanentiste de l'Esprit où l'esthétique trouverait sa place à côté d'une logique, d'une philosophie de la pratique et d'une économie ou philosophie de l'utile. L'influence (...) de Croce s'exerça non seulement sur les philosophes mais aussi sur des historiens de l'art comme Lionello Venturi, Carlo Ludovico Ragghianti, Julius Schlosser, Hans Sedlmayr ou encore Herbert Read et Pierre Francastel qui en discutèrent les thèses. Le Bréviaire d'esthétique (1912) rassemble quatre conférences destinées à un public nord-américain à l'invitation du " Rice Institute " qui ouvrait alors ses portes au Texas. Ces conférences jamais prononcées furent néanmoins publiées en anglais dès 1913, et marquent une étape importante dans la réflexion esthétique du philosophe napolitain qui qualifie alors l'art d'" intuition lyrique ". À ces conférences furent ajoutés plus tard deux autres textes ici traduits. Lire Croce aujourd'hui permet de revenir à la source d'un ensemble de questions auxquelles l'esthétique contemporaine est confrontée tout en découvrant une pensée qui, bien que souvent hostile à certaines manifestations de l'art de son temps (D'Annunzio ou les futuristes par exemple), restait paradoxalement ouverte à ses transformations qu'elle recommandait de saisir dans leur singularité et leur mouvement propre. D'où une conception particulière de la critique et de ses rapports avec l'histoire de l'art que l'on trouvera ici exposée. (shrink)

Spatial memory relies on encoding, storing, and retrieval of knowledge about objects’ positions in their surrounding environment. Blind people have to rely on sensory modalities other than vision to memorize items that are spatially displaced, however, to date, very little is known about the influence of early visual deprivation on a person’s ability to remember and process sound locations. To fill this gap, we tested sighted and congenitally blind adults and adolescents in an audio-spatial memory task inspired by the classical (...) card game “Memory.” In this research, subjects had to find pairs among sounds displaced on an audio-tactile device composed of loudspeakers covered by tactile sensors. To accomplish this task, participants had to remember the spatialized sounds’ position and develop a proper mental spatial representation of their locations. The test was divided into two experimental conditions of increasing difficulty dependent on the number of sounds to be remembered. Results showed that sighted participants outperformed blind participants in both conditions. Findings were discussed considering the crucial role of visual experience in properly manipulating auditory spatial representations, particularly in relation to the ability to explore complex acoustic configurations. (shrink)

Einleitung, von A. Ruge.--Die prinzipien der logik, von W. Windelband.--Prinzipien der logik, von J. Royce.--Die prinzipien der logik, von L. Couturat.--Die aufgabe der logik, von B. Croce.--Die probleme der logik, von F. Enriques.--Die umgestaltung der bewusstseinsbegriffes in der modernen erkenntnistheorie und ihre bedeutung für die logik, von N. Losskij.

Recent years have witnessed a revival of interest in the method of explication as a procedure for conceptual engineering in philosophy and in science. In the philosophical literature, there has been a lively debate about the different desiderata that a good explicatum has to satisfy. In comparison, the goal of explicating the concept of explication itself has not been central to the philosophical debate. The main aim of this work is to suggest a way of filling this gap by explicating (...) ‘explication’ by means of conceptual spaces theory. Specifically, I show how different, strictly-conceptual readings of explication desiderata can be made precise as geometrical or topological constraints over the conceptual spaces related to the explicandum and the explicatum. Moreover, I show also how the richness of the geometrical representation of concepts in conceptual spaces theory allows us to achieve more fine-grained readings of explication desiderata, thereby overcoming some alleged limitations of explication as a procedure of conceptual engineering. (shrink)

Originally published in English in 1950 this is one of the most revealing works by one of Italy's foremost philosophers of the 20th century, who was also a courageous and effective opponent of Fascism. Following the Allied landing at Salerno, Croce was called upon by kings, princes, generals and politicians and asked to decide question of vital importance to Italy. This book records the notes Croce made on political matters in 1943 and 1944 and includes some of the many documents (...) Croce possessed which referred to the attempt in Naples to form a Corps of Italian volunteers. (shrink)

RESUMO Este artigo é uma tentativa de conectar a emergência da observação de segunda ordem na filosofia crítica com a teoria da autonomia estética desenvolvida pelo primeiro romantismo alemão. Ao delinear a gênese de um sistema da arte autônomo a partir da recepção da filosofia crítica, minha intenção é mostrar como esses desenvolvimentos filosóficos aparentemente hermenêuticos se relacionam com o nascimento de um sistema de produção e reprodução de obras de arte, que – como argumentarei – são a própria materialização (...) do código do sistema. (shrink)

The relentless exploitation of the earth's resources and technologys boundless growth are a matter of urgent concern. When did this race towards the limitless begin? The Greeks, who shaped the basis of Western thinking, lived in mortal fear of humanity's hidden hunger for the infinite and referred to it as hubris, the one true sin in their moral code. Whoever desired or possessed too much was implacably punished by nemesis, yet the Greeks themselves were to pioneer an unprecedented level of (...) ambition that began to reverse that tabu. If it is true that no culture can truly repudiate its origins, and that gods who are no longer potent can vanish but still leave behind a body of myth which coninues to live and assert itself in modernized garb, then our concern with the limits of growth reflects something more than an awareness of new technological problems - it also brings to light a psychic wound a a feeling of guilt which are infinitely more ancient. (shrink)

Following the murder of George Floyd, the Black Lives Matter-movement (BLM) took to the streets to protest against institutional racism. In these protests, one could often hear the slogan “No Justice, No Peace”. Drawing on legal theory, speech act theory and phenomenology, this article investigates what kind of justice and peace are called upon and how the slogan functions as a claim addressed to the legal order. First, the article shows that the rule of law provides a comprehensive normative framework (...) to evaluate what went wrong during the arrest of George Floyd. Second, the article maintains that the slogan should be understood as a passionate utterance in the sense of Stanley Cavell. Finally, drawing on a responsive phenomenology of legal order inspired by the work of Bernhard Waldenfels, the article concludes that the slogan is an extraordinary claim questioning the legal order, showing its contingent origins. (shrink)

The automatic prediction of court case judgments using Deep Learning and Natural Language Processing is challenged by the variety of norms and regulations, the inherent complexity of the forensic language, and the length of legal judgments. Although state-of-the-art transformer-based architectures and Large Language Models (LLMs) are pre-trained on large-scale datasets, the underlying model reasoning is not transparent to the legal expert. This paper jointly addresses court judgment prediction and explanation by not only predicting the judgment but also providing legal experts (...) with sentence-based explanations. To boost the performance of both tasks we leverage a legal named entity recognition step, which automatically annotates documents with meaningful domain-specific entity tags and masks the corresponding fine-grained descriptions. In such a way, transformer-based architectures and Large Language Models can attend to in-domain entity-related information in the inference process while neglecting irrelevant details. Furthermore, the explainer can boost the relevance of entity-enriched sentences while limiting the diffusion of potentially sensitive information. We also explore the use of in-context learning and lightweight fine-tuning to tailor LLMs to the legal language style and the downstream prediction and explanation tasks. The results obtained on a benchmark dataset from the Indian judicial system show the superior performance of entity-aware approaches to both judgment prediction and explanation. (shrink)