1,721,001 research outputs found
Contingenza della necessità e necessità della contingenza. Ragione, sistema e libertà in Meillassoux e Hegel
Full text linkAim of this paper is to investigate contingency and totality as the ontological conditions of possibility of improvisation. Through a critical analysis of Quentin Meillassoux\u27s argument about the necessity of contingency and the impossibility of totality, I will try to show that Hegel\u27s logic is actually able to show some limits of Meillassoux\u27s theory, and to prove that totality is also necessary in order to properly think improvisation
L'opera d'arte dell'anima. Corpo, tecnica e medialità nell'Antropologia di Hegel
No full textIn the section of the Encyclopedia dedicated to Anthropology Hegel endorses a technological and mediological conception of body. In order to grant to the Soul access to the external world, body has to be turned into an instrument. Through repeated exercise it becomes a middle term between the Soul and the World, and only thanks to its medial nature is it possible for consciousness to awaken. This peculiar relationship between inner Self and body plays a pivotal role for the whole development of Spirit: the technological approach to body becomes the model for any further contact with the external world. Thus, the Anthropology lays the foundation of Hegel’s whole conception of finite Spirit as a medial dimension: man is a self–productive being whose nature is always a second nature, a form of immediacy that is nevertheless produced (mediated) by his own activity. According to this view body is a proto–medium, and Hegel’s account of technology can be interpreted as a theory of the extended body (in the Anthropology) as well as a theory of extended mind (in the Philosophy of Objective Spirit)
Limit and Creation. Towards an Ethic of Self-Limitation in the Digital Era
Full text linkAim of this article is to analyse the relationship between creativity, freedom and future in contemporary society. The main focus is on the notion of creativity in our digital era. Common sense understands creativity as a concept implying something new, something original that did not exist before. And yet in our society the constant overflow of news, products and contents doesn’t surprise anymore, is no longer connected to a truly creative act. The complete lack of limits seems to be our society’s own limit, since newness is not experienced anymore as something really new. The solution to this situation is a new ethic of self-limitation that reshapes our idea of creativity and bases it on different criteria. The first part of the article is an analysis of hypermodern society. Hypermodernity is defined through three features: quantity as a qualitative element, override of distance, sublation of perspective. Unlike postmodern society, hypermodernity defines itself positively on the basis of some technological and social results that are experienced as improvements. In the second part of the article the paradox of hypermodern society is discussed: despite its obsession for newness, despite the huge spread of creative jobs and the passion for future, newness seems to be something given an usual, being creative means conforming to given standards, and future is almost completely implemented into present. In the last part of the article I argue that a solution to this situation is an ethic of selflimitation, in which a rediscovery of limit leads to a new concept of creativity no longer based on quantitative increment, but rather on the ideas of qualitative selection, objective distance, personal perspective. According to this view, being creative is no longer a matter of content, but rather of form. I will also argue that the aesthetics of Oulipo, a French literary movement of the Sixties, already expressed this stance in a very similar situation.81891006Ethics in Progres
Matematizzazione e contingenza. Il problema dello statuto delle leggi di natura nel pensiero di Quentin Meillassoux
Full text linkMathematisation and Contingency. The Problem of natural laws Statute according to Quentin Meillassoux’s Thought
Our ability to find nature’s necessary laws has traditionally been based on the possibility to express natural beings’ properties in mathematical terms. In his groundbreaking book After finitude, Quentin Meillassoux turns this assumption upside down, arguing that we can prove the absoluteness of mathematical (quantifiable) properties thanks to the absolute contingency of natural laws – contingency that can be proved as well. On this basis Meillassoux tries to reconnect philosophical thought with hard sciences, and to escape from the “ptolemaic revolution” he sees in Kant’s transcendental turn. Aim of this paper is to give account of Meillassoux’s philosophical attempt starting from his first book and up to his latest papers. My thesis is that Meillassoux endorses a very one-sided interpretation of modern science, and that his attempt to reintroduce the distinction between primary and secondary qualities on the basis of his “principle of factuality” is – at least at the moment – still inconclusive
Il dato come esperienza religiosa. Note sulla condizione spirituale delle società ipermoderne
Full text linkThe paper investigates the relationship between ICTs (Information and Communication Technologies) and religion. The focus is not how religions and religious life has changed thanks to technological evolution, but rather how it is possible to interpret our relationship to technology as a kind of religious experience. The paper starts from the notion of “hypermodernity” and tries to offer a comprehensive theoretical frame in order to interpret the changes occurred in Western societies after the so-called “fourth revolution”. According to this frame, technology has had a pivotal role in the cultural changes that led to our present condition. ICTs are the source for a vast variety of shared beliefs, hopes and fears; they are at the core of the present world-view of Western societies. Starting from this interpretation, the paper offers a brief analysis of some myths connected to ICTs, and develops an attempt to understand their function in the social and cultural context
La filosofia è un discorso pubblico? Medialità e mediaticità del discorso filosofico
Full text linkToday, in talking about public sphere and the possible role of philosophy in it, one can not but refer to information technology. However, in order to investigate the relationship of the philosophical discourse with the environments of the digital age, seems appropriate to start from the more general question of the status of philosophy itself, as well as from its relationship with persuasion and the rhetorical dimension.
The basic question to which this essay is intended to answer is the following: in what sense is philosophy a public discourse? In what terms, moreover, does the reconfiguration of the public/private distinction determined by digi-tal media influence the nature of the philosophical debate, its internal dynam-ics, its objectives and its diffusion?
First of all, the article will reconstruct, in particular through an analysis of the Platonic Phaedrus, the common origins and a certain consubstantiality of philosophical thought and its rhetorical manifestation. Starting from this assumption the thesis according to which philosophy has always been and, in a certain sense, must be philosophy of communication will be supported. The specificity of the relationship between philosophy and communication lies in its being always mediology in the sense of a discourse in, of, and on the medium, medium and medium.
Finally, this retrospective redefinition of the status of philosophy will be applied to the context of Computer-Mediated Communication (CMC) in order to understand how reflection can recover its role of taking a critical distance in the current public context
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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