We provide an account of necessary a posteriori identity statements that relies upon Perry’s multipropositionalism. On our account an utterance of, e.g., ‘Hesperus is Phosphorus’, semantically makes available several propositions, one of which is necessary (and a priori) and another of which is a posteriori (and contingent). Since our view resembles two-dimensionalism, one might assume that it is undermined by the sorts of nesting arguments that Soames and others have raised against two-dimensionalism. We demonstrate, however, that our account is immune (...) to such nesting arguments. (shrink)

Ontologia dell’arte L’ontologia dell’arte è la disciplina filosofica che si occupa di stabilire a quali categorie ontologiche appartengono determinate famiglie di opere d’arte. Si consideri innanzitutto la distinzione fra individui e tipi, che ricalca la distinzione aristotelica fra particolari e universali. Un individuo è qualcosa che ha una sua precisa localizzazione nello spazio e nel tempo, qualcosa che potremmo indicare con un gesto o con un dimostrativo come “questo” o “quello”: questa...

La búsqueda de justificación epistémica para los presupuestos metodológicos y axiológicos más básicos de la ciencia ha de enfrentarse al trilema de Agrippa. Se argumenta que la regresión al infinito -aun si esta regresión es solo potencial- y la circularidad no son las mejores alternativas del trilema y que el mejor disyunto es un dogmatismo minimalista, siendo uno de sus dogmas el siguiente condicional: Si nuestros presupuestos metodológicos y axiológicos más básicos de carácter científico fuesen los correctos, entonces las teorías (...) científicas seleccionadas por estos presupuestos serían probable, o aproximadamente, verdaderas. The search of epistemic justification for the most basic methodological and axiological presuppositions of science has to deal with Agrippa's trilemma.It is argued that infinite regress - even if it is only a potential regress - and circularity are not the best alternatives of the trilemma and that the best disjunct is a minimalist dogmatism, with the following conditional, as one of its dogmas: If our most basic methodological and axiological scientific presuppositions were the correct ones, then the scientific theories selected by these presuppositions would be the probably, or the approximately, true ones. (shrink)

In this essay, a brief analysis of the diplomatic efforts to achieve an accord in re- lation to the climatic change process is made. Particularly, it will analyze the two past Climate Summits (Copenhagen and Cancun). It emphasizes the growing social articulation of climatic politics. Finally, it aims to the birth of a new global responsibility of societies in relation to the human relation towards the planet. Also, it explores the impact of this responsibility on the environment global changes.

Here I pursue a deconstructive reading of astrobiology, the emerging science dedicated to a double quest: solving the mystery of life's origin and discovering life beyond Earth. Astrobiology, I argue, is organized as a response to the aporetic formulation assumed by the origin of life in modern molecular biology, where (as Derrida's argues in Life Death) it becomes the origin of textuality. Because all Earth life shares a single genetic code, astrobiologists are seeking a second; hoping that a sort of (...) multi-planetary comparative genomics may reveal the secret to life's origin. But the aporia repeats in the figure of the biosignature, the trace of life. (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)

En estas líneas se quiere mostrar que la obra de Feijoo puede interpretarse en su conjunto como un proyecto político-científico. Para Feijoo, el escepticismo científico es la clave para la construcción de una comunidad ilustrada que, al dedicarse al verdadero conocimiento del mundo físico, no amenaza la religión católica ni el incipiente despliegue del Estado moderno. La ciencia (o filosofía natural) se presenta como el antídoto de las fuerzas centrífugas del error y la disgregación, en todas sus formas. Feijoo no (...) tiene reparo en recibir y propagar las aportaciones de científicos protestantes y sí intención de generar una cultura científica que constituya un cimiento sólido para una sociedad bien organizada. Feijoo promueve la formación científica porque es útil para el _progreso_ social, para la fundación de una comunidad propiamente católica, que incluya a todas las personas cultivadas, al margen de las incipientes unidades nacionales y de los distintos bandos confesionales. (shrink)

A sociedade não se iniciou com a civilização grega, porém fundamentou a civilização ocidental. Pretende-se fazer uma reflexão sobre as questões econômicas do mundo antigo, quando Aristóteles anteviu crescente inserção mercantilista na sociedade e tratará a polis com uma grande autonomia humana. A sociedade grega clássica está centrada na cidade-estado, a polis, a qual era, para os gregos, o estágio final e completo da vida social, a única forma possível de existência civilizada. O conceito aristotélico de economia como ação/política do (...) “cuidar”, como a ciência que busca o melhor uso das riquezas destinadas a manutenção e aperfeiçoamento da vida social, auxilia o mundo moderno à construção de um pensamento econômico. (shrink)

In this paper I examine Hegel's notion of 'idea'. I provide first of all some general clarifications on this notion, and then I analyze the meaning of the logical Doctrine of the idea in relation to the internal organization of the system. My aim is to interpret this section of the Science of Logic as a Grammar of Hegel's Realphilosophie.

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)

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)

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)

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)

This article aims to highlight the theoretical and philosophical debate on hospitality underlining the normative elements of framing migrants and refugees as individual agents in the light of hospitality theory and migration governance. It argued the critiques of the neo-Kantian hospitality approach and the EU welcome culture with regard to refugees in the EU from a philosophical perspective. The “No human being is illegal” motto is proposed to be conceived as a principle of the EU Charter of Fundamental Rights. The (...) cosmopolitan right to visit and the universal right to reside were discussed in the context of human rights and co-responsibility. Linking the hospitality approach with migration governance enables the reconstruction of reception policies and practices, diversification of non-state actors that engage in migration governance mechanism, and polarization of political initiatives (e.g., politics of allocation and dispersal, readmission negotiations, convergence/divergence of priorities and strategic interests). The research findings highlight that the EU adopted a neo-Kantian hospitality approach that combines both “co-responsibility” and “vertical/heterarchical relations.” The EU’s “New Pact on Migration and Asylum” was considered proof of how the EU follows neo-Kantian hospitality that is manifested in dualism and contradictory approach. The study presents a typology that splits co-responsibility into individual/institutional actions and human rights/migration governance. (shrink)

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 (...) the actual world whereas the alleged tokens of a fictional character are concrete particulars in a fictional world. Thirdly, many fictional characters, unlike Batman, only appear in one work of fiction, and therefore one can wonder whether it does make sense to treat them as types. The main aim of this paper is to address these issues in order to defend a creationist account of fictional characters as types. (shrink)

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)

Este artículo analiza la relación entre dos autores, Lord Acton y Balmes, en lo que entendemos que ha sido la gran cuestión de la política moderna: la nación y el problema del nacionalismo. Se citan los textos estrechamente relacionados con el tema y se han descartado aquellos más generales o, en el caso de Balmes, de carácter más dogmático o teológico. En el caso del autor español se han seleccionado sus escritos políticos aparecidos en los diferentes medios de prensa en (...) los que colaboró a lo largo de su prolífica carrera. Ambos autores trataron de superar por elevación la dialéctica absolutismo-liberalismo, y propusieron, cada uno a su manera, un modelo de Monarquía Constitucional que no cediese ni al nacionalismo, ni al autoritarismo. Asumieron como propias ideas renovadoras acerca de la libertad política, adaptaron a sus circunstancias las formas políticas propias del federalismo estadounidense, y defendieron la tradición, la religión y el Estado frente a los que ellos entendían que eran las dos grandes amenazas de su época que crecían al amparo del nacionalismo: el individualismo racionalista y el autoritarismo estatalista. (shrink)

This article draws on Gloria Anzaldúa's philosophy to analyze Latina/o cultural forms as responses to the lawful violence that renders migrants and other minoritarian peoples as disposable subjects. The article turns to Latina/o playwrights and undocumented poets whose art forms, produced under the deportation regime, express a desire for freedom from terrorizing governance. Focusing on Lydia, a play by Mexican American playwright Octavio Solis, and poetry by an undocumented artist, Yosimar Reyes, it links these representations of “illegal” migrants to understand (...) how minoritarian aesthetic practices respond to racial terror and lawful violence. It argues that if we are to map the present beyond terrorizing forms of law, we must center our philosophical thought on “illegal” imaginaries of freedom, not on the cultural forms sanctioned by legality—the latter risk reproducing the logic of state-sponsored violence, whereas the former enact freedom as a practice of everyday life. (shrink)

The Venezuelan-Chilean humanist Andrés Bello has been recognized as one of the most distinguished intellectuals of the 19th century—one of the last polymaths of the stature of figures such as Athanasius Kircher, Gottfried Leibniz or Benjamin Franklin. Indeed, his numerous contributions span fields such as grammar, poetry, civil law, diplomacy, education, political theory, philology and philosophy. However, despite having composed one of the most important philosophical treatises ever written in Spanish, his philosophical proposals have not been engaged with a substantial (...) way by scholars of the Anglophone world. Only a few scholars such as... (shrink)

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)

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)

This introduction accounts for three main elements characterizing digital media and the recent history of their interpretation and understanding. The authors label these three elements: “interaction”; “recording”; and “autonomy.” First, digital media somehow subvert the traditional notion of mass media. In digital media, the masses do not passively receive information; rather, they contribute to its creation and diffusion. Second, digital media involve a complete overlapping between communication, on the one hand, and recording, registration and keeping track, on the other. For (...) sure, information production and communication remain important aspects of digital media. And yet, for a few years now, recording, registration and keeping track have taken the upper hand. The third element characterizing digital media is that a crucial role is assigned to software, which is not only able to transmit and store information, but also to manipulate it. Digital media do not limit themselves to help our minds or to interconnect us with other human subjects. In digital media, recording often involves the autonomous manipulation, combination, and recombination of what is recorded. (shrink)