Rivista di Estetica
December 9, 2024
Francesco Parisi, Giovanni Pennisi
This paper aims to frame a discussion on the philosophy of the city within the context of cognitive sciences. In the first part of the paper, we will outline the double shift from a linguistic and ocularcentric account towards a sensorimotor one; then we will defend the idea that the less you refer to language and ocularcentrism in handling the urban dimension, the better phenomena can be...
Rivista di Estetica
March 6, 2020
Elvira Di Bona, Stefano Ercolino
In this paper, we propose a reading of Robert Musil’s controversial notion of the “other condition” in light of the basic features of the philosophical doctrine of externalism, as formulated in the classical account of the extended mind proposed by Andy Clark and David Chalmers (1998). Our reading is not meant to exhaust the complexity and polysemy of the idea of the other condition, but merely...
Rivista di Estetica
January 30, 2019
Michele Di Francesco, Alfredo Tomasetta
This paper focuses on the role and value of thought experiments concerning phenomenal consciousness. It is divided in two parts. The first part surveys the philosophical and scientific context in which many well-known thought experiments concerning the mind and consciousness have their roots. In particular it focuses on the problems left open by scientific theories about consciousness and by...
Rivista di Estetica
January 30, 2019
Alfredo Paternoster
As I define it, metaphysical naturalism (in the philosophy of mind) is the thesis according to which mental facts supervene in strong sense on neurophysiological states, i.e., the former can be deduced from the latter. In this paper I discuss this thesis by taking into consideration two different kinds of mental states: I shall argue that, while metaphysical naturalism is false for standard...
Rivista di Estetica
2017
Francesca Forlè
In this paper, I will try to integrate Joel Krueger’s enactive theory of music perception with some of Erwin Straus’ reflections on different forms of experiencing spatiality and movement. Krueger (2009, 2011b) maintains that music perception is a form of active perception, in which our body and our ability to move with music act as vehicles to draw out certain features of the piece and to...