It is often said that television series are nowadays as good as films, or even better than them, but the philosophical inquiry into the former remains much less developed than the philosophy of film. A handful of recent books (e.g., Nannicelli 2016, Shuster 2017, Andrzejewski and Salwa 2018, Bandirali and Terrone 2021) have tried to fill the gap, but there is much work still to be done. Significant contributions to the aesthetics of television series are coming from television studies (...) and fil... (shrink)

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 (...) not come down to an interest in the dramatic representation or in the pictorial representation. We will argue that this is a distinctively cinematic interest. In section I we outline Scruton’s argument. In section II we point out an interest in how the cinematic medium presents the portrayed subject as detached from the spectator’s environment. In section III, by referring to Wittgenstein’s account of the contemplation from outside, we contend that the interest in films introduced in section II can count as an aesthetic interest. In section IV we argue that both documentaries and fiction films can elicit this kind of interest. In section V we compare the three different kinds of aesthetic interest that, in our view, a film can elicit. In section VI we describe the corresponding kinds of cinematic achievements. (shrink)

The paper offers a twofold intervention in the debates about the paradox of fiction. First, it argues that too much emphasis has been placed on the paradox’ epistemological aspect. This has led to a neglect of its ethical dimension. Specifically, little has been said about the ethical issues of regularly caring for fictional entities while exhibiting comparatively far less concern for real­life fellow men and women. Second, the essay argues that it is often the case that it is real­life structures (...) rather than fictional entities that cause emotions. In the case of horror, for example, we are not afraid of the fictional monster but of an off possibility that something like this might exist in the real world. Importantly, the proposal differs from the counterfactualist approaches because it allows that fictional entities may cause emotions. Specifically, emotions which do not have clearly defined accompanying typical actions, such as sympathy and antipathy. (shrink)

The Journal of Aesthetics and Art Criticism, Volume 78, Issue 1, Page 129-131, Winter 2020.

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 (...) instance documentaries that resort to reenactments. Is there a way to exclude docudramas from the documentary without also excluding other films that we usually treat as documentaries? The paper affirmatively answers to this question by relying on the notion perceptual belief, that is, a belief that one can form by endorsing one's perception. Documentaries are defined as films that mandate us to form perceptual beliefs. Even if a docudrama mandates us to form beliefs, it does not mandate us to form perceptual beliefs, and thus does not count as a documentary. By contrast, a documentary that resorts to reenactments still mandates us to form perceptual beliefs and thus properly satisfies the definition proposed. (shrink)

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 (...) and features can be relevant also to ordinary perception, standards concerning standpoints are specific to pictorial experience. Drawing on all this, the paper proposes an ontology of depiction according to which a picture is constituted by both its visual appearance and its standard of correctness. (shrink)

Predictivists use the no miracle argument to argue that “novel” predictions are decisive evidence for theories, while mere accommodation of “old” data cannot confirm to a significant degree. But deductivists claim that since confirmation is a logical theory-data relationship, predicted data cannot confirm more than merely deduced data, and cite historical cases in which known data confirmed theories quite strongly. On the other hand, the advantage of prediction over accommodation is needed by scientific realists to resist Laudan’s criticisms of the (...) no miracle argument. So, if the deductivists are right, the most powerful argument for realism collapses. There seems to be an inescapable contradiction between these prima facie plausible arguments of predictivists and deductivists; but this puzzle can be solved by understanding what exactly counts as novelty, if novel predictions must support the no miracle argument, i.e., if they must be explainable only by the truth of theories. Taking my cues from the use-novelty tradition, I argue that (1) the predicted data must not be used essentially in building the theory or choosing the auxiliary assumptions. This is possible if the theory and its auxiliary assumptions are plausible independently of the predicted data, and I analyze the consequences of this requirement in terms of best explanation of diverse bodies of data. Moreover, the predicted data must be (2) a priori improbable, and (3) heterogeneous to the essentially used data. My proposed notion of novelty, therefore, is not historical, but functional. Hence, deductivists are right that confirmation is independent of time and of historical contingencies such as if the theorist knew a datum, used it, or intended to accommodate it. Predictivists, however, are right that not all consequences confirm equally, and confirmation is not purely a logical theory-data relation, as it crucially involves background epistemic conditions and the notion of best explanation. Conditions (1)–(3) make the difference between prediction and accommodation, and account for the confirming power of theoretical virtues such as non ad-hocness, non-fudging, non-overfitting, independence and consilience. I thus show that functional novelty (a) avoids the deductivist objections to predictivism, (b) is a gradual notion, in accordance with the common intuition that confirmation comes in degrees, and (c) supports the no miracle argument, so vindicating scientific realism. (shrink)

Cómo es posible la historia? -- Giambattista Vico : Una nueva ciencia, la historia (1725) -- Carta de Heidelberg.

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 (...) one might also say that one imagined Ripley fighting the monster. Are these two reports compatible? If they are, how can we combine them so to make sense of them? If, instead, they are not, which of them should we give up? (shrink)

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, (...) at least in the sense specified by Grau and Wartenberg. Finally, I will suggest a different way in which Eternal Sunshine, understood as a comedy of remarriage, might function as an argument against utilitarianism. (shrink)

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 Noël Carroll, Trevor Ponech, and Carl Plantinga cannot properly differentiate documentaries from docudramas. On the other hand, Gregory 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 instance, documentaries that resort to reenactment. Is there a way to exclude docudramas from the documentary without also excluding other films that we usually treat as documentaries? This article affirmatively answers by relying on the notion of perceptual belief, that is, a belief that one can form by endorsing the demonstrative content of one's perception. While documentaries primarily involve the formation of perceptual beliefs, docudramas invite us to form nonperceptual beliefs by primarily involving the formation of perceptual imaginings. That is why docudramas are not documentaries. By contrast, a documentary that resorts to reenactment primarily involves the formation of perceptual beliefs, namely, perceptual beliefs about the reenactment itself. (shrink)

L'autore parte dall'analisi dei problemi etici espressi nei linguaggi della poesia, della tragedia e della storiografia, per passare poi alla lettura delle maggiori opere del pensiero antico, fornendo di ognuna puntuali introduzioni. Un'attenzione particolare, alla fine di ogni capitolo, è dedicata all'eredità moderna e al significato attuale dei problemi dell'etica antica, proponendo in modo esplicito un collegamento fra ricostruzione storica e discussione teorica contemporanea.

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 (...) of the paper is meant to provide a positive answer to this question. The remaining sections illustrate and test the proposed account by contrasting paradigmatic pop songs with borderline cases. (shrink)

Most social scientists and philosophers claim that sociology and philosophy are disjoint fields of inquiry. Some have wondered how to trace the precise boundary between them. Mario Bunge argues that the two fields are so entangled with one another that no demarcation is possible or, indeed, desirable. In fact, sociological research has demonstrably philosophical pre-suppositions. In turn, some findings of sociology are bound to correct or enrich the philosophical theories that deal with the world, our knowledge of it, or (...) the ways of acting upon it. While Bunge's thesis would hardly have shocked Mill, Marx, Durkheim, or Weber, it is alien to the current sociological mainstream and dominant philosophical schools. Bunge demonstrates that philosophical problematics arise in social science research. A fertile philosophy of social science unearths critical presuppositions, analyzes key concepts, refines effective research strategies, crafts coherent and realistic syntheses, and identifies important new problems. Bunge examines Marx's and Durkheim's thesis that social facts are as objective as physical facts; the so-called Thomas theorem that refutes the behaviorist thesis that social agents react to social stimuli rather than to the way we perceive them; and Merton's thesis on the ethos of basic science which shows that science and morality are intertwined. He considers selected philosophical problems raised by contemporary social studies and argues forcefully against tolerance of shabby work in academic social science and philosophy alike. (shrink)

Works of art are usually meant to elicit psychological effects from their audiences whereas paradigmatic technical artifacts such as hammers or cars are rather meant to produce physical effects when used. This suggests that works of art and technical artifacts are sharply different entities. However, recent developments in the cognitive sciences and the philosophy of technology have individuated special artifacts, namely cognitive and affective artifacts, which also generate psychological effects. In particular, affective artifacts, which have the capacity to alter the (...) affective condition of agents, seem to share crucial features with works of art. Can we subsume works of art under that kind? I will argue that we cannot. Still, comparing art with affective artifacts will help us to clarify the relationship between art and technology, and to introduce a new category, namely the experiential artifact, which can properly encompass works of art. (shrink)

A re-evaluation of the notion of vacuum in quantum electrodynamics is presented, focusing on the vacuum of the quantized electromagnetic field. In contrast to the ‘nothingness’ associated to the idea of classical vacuum, subtle aspects are found in relation to the vacuum of the quantized electromagnetic field both at theoretical and experimental levels. These are not the usually called vacuum effects. The view defended here is that the so-called vacuum effects are not due to the ground state of the quantized (...) electromagnetic field. Nevertheless it is possible to maintain an empirically demonstrable notion of vacuum state that is consistent with the interpretation of the formalism of the theory. (shrink)

This fascinating exploration of the great discoveries of history's most important mathematicians seeks an answer to the eternal question: Does mathematics hold the key to understanding the mysteries of the physical world?

It is generally argued that if the wave-function in the de Broglie–Bohm theory is a physical field, it must be a field in configuration space. Nevertheless, it is possible to interpret the wave-function as a multi-field in three-dimensional space. This approach hasn’t received the attention yet it really deserves. The aim of this paper is threefold: first, we show that the wave-function is naturally and straightforwardly construed as a multi-field; second, we show why this interpretation is superior to other interpretations (...) discussed in the literature; third, we clarify common misconceptions. (shrink)

Machine generated contents note: I. METAPHYSICS -- 1. How Do Realism, Materialism, and Dialectics Fare in Contemporary Science? -- 2. New Dialogues between Hylas and Philonous -- 3. Energy: Between Physics and Metaphysics -- 4. The Revival of Causality -- 5. Emergence and the Mind -- 6 SCIENTIFIC REALISM -- 6. The Status of Concepts -- 7. Popper's Unworldly World 3 --II. METHODOLOGY AND PHILOSOPHY OF SCIENCE -- 8. On Method in the Philosophy of Science -- 9. Induction in Science (...) -- 10. The GST Challenge to the Classical Philosophies of Science -- 11. The Power and Limits of Reduction -- 12. Thinking in Metaphors --III. PHILOSOPHY OF MATHEMATICS -- 13. Moderate Mathematical Fictionism -- 14. The Gap between Mathematics and Reality -- 15. Two Faces and Three Masks of Probability --IV. PHILOSOPHY OF PHYSICS -- 16. Physical Relativity and Philosophy -- 17. Hidden Variables, Separability, and Realism -- 18. Schrodinger's Cat Is Dead --V. PHILOSOPHY OF PSYCHOLOGY -- 19. From Mindless Neuroscience and Brainless Psychology to Neuropsychology -- 20. Explaining Creativity -- VI. PHILOSOPHY OF SOCIAL SCIENCE -- 21. Analytic Philosophy of Society and Social Science: -- The Systemic Approach as an Alternative to Holism and Individualism -- 22. Rational Choice Theory: A Critical Look at Its Foundations -- 23. Realism and Antirealism in Social Science --VII. PHILOSOPHY OF TECHNOLOGY -- 24. The Nature of Applied Science and Technology -- 25. The Technology-Science-Philosophy Triangle in Its Social Context -- 26. The Technologies in Philosophy --VIII. MORAL PHILOSOPHY -- 27. A New Look at Moral Realism -- 28. Rights Imply Duties --IX. SOCIAL AND POLITICAL PHILOSOPHY -- 29. Morality Is the Basis of Legal and Political Legitimacy -- 30. Technoholodemocracy: An Alternative to -- Capitalism and Socialism -- Bibliography -- Index of Names -- Index of Subjects. (shrink)

Desde un punto de vista interdisciplinar, esta investigación explora la forma en que la palabra miedo funciona en la novela de Miguel Ángel Oeste Vengo de ese miedo (2022). A partir de este análisis, el trabajo pretende dar cuenta de la problemática de la identidad y la búsqueda del sentido del ser humano en el mundo contemporáneo, esclarecer la importancia del cuerpo y las emociones en la sociedad posmoderna y arrojar más luz sobre una de las tendencias más importantes de (...) la literatura actual, como es la autoficción. (shrink)

In recent years, increasing attention has been devoted to the underrepresentation, exclusion or outright discrimination experienced by women and members of other visible minority groups in academic philosophy. Much of this debate has focused on the state of contemporary Anglophone philosophy, which is dominated by the tradition of analytic philosophy. Moreover, there is growing interest in academia and society more generally for issues revolving around linguistic justice and linguistic discrimination (sometimes called ‘linguicism’ or ‘languagism’) (see e.g. Van Parijs 2011). Globalization (...) and the increasing adoption of English as global linguistic vehicle or lingua franca push these issues at the forefront of much of the world’s attention. The convergence of these two trends suggests the appropriateness of an analysis of the condition of non-native speakers of English in analytic philosophy. (shrink)

Este artículo es un análisis de tres relatos periodísticos de la filtración de documentos de la Agencia Nacional de Seguridad de Estados Unidos, llevada a cabo por Edward Snowden: un libro, una película y una entrevista. El objetivo es sacar a la luz algunos dilemas éticos y políticos que subyacen al caso. Primero, una tensión paradójica entre la exigencia de transparencia frente al secreto estatal y la necesidad del secreto personal para el derecho a la privacidad, que refleja en nuestros (...) tiempos la dialéctica publicidad / secreto en la modernidad temprana. Segundo, la ética hack-activista enfrenta los conflictos entre anonimato y visibilidad. Tercero, los periodistas en que Snowden confía afrontan el dilema entre los deberes de la información y la protección de la confidencialidad de las fuentes. El asunto Snowden es, pues, una oportunidad para extraer algunas lecciones sobre la ética de la comunicación en la era digital. (shrink)

El texto propone una confrontación entre la fenomenología de la vita activa de Hannah Arendt y la ética del cuidado. Se trata, por una parte, de aplicar las distinciones arendtianas entre esferas pública y privada, y entre labor, trabajo y acción , a la actividad de cuidar, para reafirmar su relevancia; por otra parte, tomando el concepto de «mundo» como clave de la definición de cuidado, se ensaya una reinterpretación crítica de los conceptos de Arendt a partir de algunos análisis (...) feministas y de una fenomenología responsiva y del cuerpo, a fin de plantear una reivindicación matizada de las implicaciones públicas del cuidar, en línea con las propuestas de paso de una ética a una «política del cuidado». (shrink)

El artículo replantea, en confrontación con Reinhart Koselleck, la relación entre tiempos de crisis y esferas públicas, así como la «dialéctica», ahí implicada, entre «secreto» y «publicidad». Desde este marco interpreto la crisis contemporánea de modelos de comunicación y participación políticas, en parte por el impacto de las TIC, con referencia a fenómenos sociopolíticos recientes en España, como el movimiento 15M o el nuevo partido Podemos. La crítica genera o agudiza las crisis y éstas se expresan en aquella. El ideal (...) de la esfera pública se reconfigura con cada crisis, para confrontar a sociedad y política con el nivel de crisis su tiempo. Frente a Koselleck, reitero la exigencia normativa de esferas públicas como espacios críticos, ámbitos sociales, intermedios entre política y mundo de la vida. (shrink)

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 (...) rely on the notion of a mental file. I will argue that the function of fictional characters is the generation of mental files of a special kind. I will show that our experience of fictional characters as concrete individuals depends on the kind of mental files that are generated by fictional characters as abstract artifacts. I will conclude that an appreciator of a work of fiction can open two files about a certain fictional character; one about the character as an individual in the fictional world, and the other about the character as an abstract artifact in the actual world. In this sense, our relation to a fictional character is characterized by a duality of files or ‘twofileness’. (shrink)

Regardless of whether one agrees or disagrees with Stacie Friend’s claim that fiction is a genre, her notion of genre can be fruitfully applied to a paradigmatic genre such as science fiction. This article deploys Friend’s notion of genre in order to improve the influential characterization of science fiction proposed by Darko Suvin and to defend it from a criticism recently raised by Simon Evnine. According to Suvin, a work of science fiction must concern “a fictional ‘novum’ validated by cognitive (...) logic.” While Suvin conceives of his characterization as a necessary and sufficient condition for membership in the genre, I propose to cast the notions of “fictional novum” and “cognitive validation” as standard features of the genre, which works of science fiction should have but might lack. I argue that this amended version of Suvin’s characterization can better account for two basic properties of science fiction as a genre, namely its historicity and its relevance to appreciation. Lastly, I show that the amended version can shed some light on the affinity between works of science fiction and philosophical thought experiments. (shrink)

There are two possible realist defense strategies against the pessimistic meta-induction and Laudan’s meta-modus tollens: the selective strategy, claiming that discarded theories are partially true, and the discontinuity strategy, denying that pessimism about past theories can be extended to current ones. A radical version of discontinuity realism is proposed by Gerald Doppelt: rather than discriminating between true and false components within theories, he holds that superseded theories cannot be shown to be even partially true, while present best theories are demonstrably (...) completely true. I argue that this position, running counter both the cumulativity of science and fallibilism, is untenable; it cannot account for the success of past theories, nor for the failures of current theories, and rather than shutting the door to the pessimistic historical objections it opens it wide. The best strategy, instead, joins the selective idea there was both some truth and some falsity in discarded theories, like in current ones, with the moderate discontinuity idea that the truth rate in present best theories is much greater than in past ones. (shrink)

I want to combine two hitherto largely independent research projects, scientific understanding and mechanistic explanations. Understanding is not only achieved by answering why-questions, that is, by providing scientific explanations, but also by answering what-questions, that is, by providing what I call scientific descriptions. Based on this distinction, I develop three forms of understanding: understanding-what, understanding-why, and understanding-how. I argue that understanding-how is a particularly deep form of understanding, because it is based on mechanistic explanations, which answer why something happens in (...) virtue of what it is made of. I apply the three forms of understanding to two case studies: first, to the historical development of thermodynamics and, second, to the differences between the Clausius and the Boltzmann entropy in explaining thermodynamic processes. (shrink)