empiricism in Philosophie als strenge Wissenschaft? (1911) or Ideas I (1913), Section I, Chapter ... more empiricism in Philosophie als strenge Wissenschaft? (1911) or Ideas I (1913), Section I, Chapter II) -and an eliminativist metaphysician of the present time, for example Daniel Dennett. Where does normativity come in? In a discussion Gallagher introduces about some brain imaging experiments designed to study brain areas activated when subjects enjoy their own first-person perspectives on some actions they are requested to engage in, or observe others engaging in such actions, or just imagine to engage in such actions. To make a long story short, the experimental design is criticised for neglecting to test another situation, namely that in which we imagine ourselves in the place of others. Why is focusing this form of social cognition so enlightening? Because it identifies a form of social cognitioninteraction which is also an origin of pre-linguistic normativity, or of proto-normativity, so to speak. While Gallagher's argument, that we leave to the reader for a pleasant discovery, has no need of scholarly references, it is interesting to notice that ability to transpose one's own egocentric coordinates in other's own (as when we give street directions in terms of our interlocutor's right and left hand, for example), being the very condition of an objective space constitution, is first made possible by a "motor" activity of actually changing one's present point of view, or just imaging that change: an example par excellence of an action-embedded, world-driven, pre-linguistic normativity. We often get this transposition wrong -we learn how to do it at about the same age we learn to use first person language. But it seems a more fundamental kind of socially learned normativity. For without it, we could not regard ourselves as objects -along with the other things and persons -in a common objective space. And it is most striking that Dennett remark about phenomenology, bound to remain a fantasy is turned against him by Gallagher, in the same strict sense in which a Cartesian solipsism is a "fantasy" according to Baker: as oblivion of a necessary condition for something to be conceivable. A science without scientists rooted in the lived space and following the very norms to reach to objective space would simply be impossible.
... 1 Ho discusso dei temi di questo corso con Andrea Guardo e con Anna Ichino: li ringrazio perc... more ... 1 Ho discusso dei temi di questo corso con Andrea Guardo e con Anna Ichino: li ringrazio perché mi hanno aiutato a chiarirmi le idee in varie occasioni. Le fotografie che fanno da copertina e che dividono le parti della dispensa ...
... 1 Ho discusso dei temi di questo corso con Andrea Guardo e con Anna Ichino: li ringrazio perc... more ... 1 Ho discusso dei temi di questo corso con Andrea Guardo e con Anna Ichino: li ringrazio perché mi hanno aiutato a chiarirmi le idee in varie occasioni. Le fotografie che fanno da copertina e che dividono le parti della dispensa ...
Le proposizioni (1) e (2) escludono (3); (2) e (3) escludono (1); (3) e (1) escludono (2). Le pag... more Le proposizioni (1) e (2) escludono (3); (2) e (3) escludono (1); (3) e (1) escludono (2). Le pagine che seguono cercano di sviluppare in dettaglio queste tre ipotesi.
The article offers a phenomenological reflection on Homer’s image of the sea being the colour of ... more The article offers a phenomenological reflection on Homer’s image of the sea being the colour of wine. Indeed, this image refers to its deep imaginative connection with blood and life, with the earth and death.
El alcance y la intensidad de las reflexiones filosóficas de Giovanni Piana sobre las artes, y es... more El alcance y la intensidad de las reflexiones filosóficas de Giovanni Piana sobre las artes, y especialmente sobre las vicisitudes del arte del siglo XX en el conjunto de su producción teó-rica no se limitan al proyecto de delinear una filosofía de la música que efectivamente se ha convertido, desde la década de 1990, en el centro de sus intereses teóricos. El arte del siglo XX y sus vanguardias representaron para Piana un argumento lleno de sugestión e interés. El objetivo del artículo es indicar la razón por la cual en el curso de sus estudios Piana siente una creciente necesidad de discutir sobre el arte contemporáneo. Reflexionar sobre el arte del siglo XX, no solo significa arrojar luz sobre los valores expresivos propios de las formas elemen-tales de la experiencia, sino que para Piana también ha significado volver a cuestionar el nexo que junta la estructura material del sonido y, en general, de los materiales de la experiencia con las formas en las que están codificados ling...
empiricism in Philosophie als strenge Wissenschaft? (1911) or Ideas I (1913), Section I, Chapter ... more empiricism in Philosophie als strenge Wissenschaft? (1911) or Ideas I (1913), Section I, Chapter II) -and an eliminativist metaphysician of the present time, for example Daniel Dennett. Where does normativity come in? In a discussion Gallagher introduces about some brain imaging experiments designed to study brain areas activated when subjects enjoy their own first-person perspectives on some actions they are requested to engage in, or observe others engaging in such actions, or just imagine to engage in such actions. To make a long story short, the experimental design is criticised for neglecting to test another situation, namely that in which we imagine ourselves in the place of others. Why is focusing this form of social cognition so enlightening? Because it identifies a form of social cognitioninteraction which is also an origin of pre-linguistic normativity, or of proto-normativity, so to speak. While Gallagher's argument, that we leave to the reader for a pleasant discovery, has no need of scholarly references, it is interesting to notice that ability to transpose one's own egocentric coordinates in other's own (as when we give street directions in terms of our interlocutor's right and left hand, for example), being the very condition of an objective space constitution, is first made possible by a "motor" activity of actually changing one's present point of view, or just imaging that change: an example par excellence of an action-embedded, world-driven, pre-linguistic normativity. We often get this transposition wrong -we learn how to do it at about the same age we learn to use first person language. But it seems a more fundamental kind of socially learned normativity. For without it, we could not regard ourselves as objects -along with the other things and persons -in a common objective space. And it is most striking that Dennett remark about phenomenology, bound to remain a fantasy is turned against him by Gallagher, in the same strict sense in which a Cartesian solipsism is a "fantasy" according to Baker: as oblivion of a necessary condition for something to be conceivable. A science without scientists rooted in the lived space and following the very norms to reach to objective space would simply be impossible.
... 1 Ho discusso dei temi di questo corso con Andrea Guardo e con Anna Ichino: li ringrazio perc... more ... 1 Ho discusso dei temi di questo corso con Andrea Guardo e con Anna Ichino: li ringrazio perché mi hanno aiutato a chiarirmi le idee in varie occasioni. Le fotografie che fanno da copertina e che dividono le parti della dispensa ...
... 1 Ho discusso dei temi di questo corso con Andrea Guardo e con Anna Ichino: li ringrazio perc... more ... 1 Ho discusso dei temi di questo corso con Andrea Guardo e con Anna Ichino: li ringrazio perché mi hanno aiutato a chiarirmi le idee in varie occasioni. Le fotografie che fanno da copertina e che dividono le parti della dispensa ...
Le proposizioni (1) e (2) escludono (3); (2) e (3) escludono (1); (3) e (1) escludono (2). Le pag... more Le proposizioni (1) e (2) escludono (3); (2) e (3) escludono (1); (3) e (1) escludono (2). Le pagine che seguono cercano di sviluppare in dettaglio queste tre ipotesi.
The article offers a phenomenological reflection on Homer’s image of the sea being the colour of ... more The article offers a phenomenological reflection on Homer’s image of the sea being the colour of wine. Indeed, this image refers to its deep imaginative connection with blood and life, with the earth and death.
El alcance y la intensidad de las reflexiones filosóficas de Giovanni Piana sobre las artes, y es... more El alcance y la intensidad de las reflexiones filosóficas de Giovanni Piana sobre las artes, y especialmente sobre las vicisitudes del arte del siglo XX en el conjunto de su producción teó-rica no se limitan al proyecto de delinear una filosofía de la música que efectivamente se ha convertido, desde la década de 1990, en el centro de sus intereses teóricos. El arte del siglo XX y sus vanguardias representaron para Piana un argumento lleno de sugestión e interés. El objetivo del artículo es indicar la razón por la cual en el curso de sus estudios Piana siente una creciente necesidad de discutir sobre el arte contemporáneo. Reflexionar sobre el arte del siglo XX, no solo significa arrojar luz sobre los valores expresivos propios de las formas elemen-tales de la experiencia, sino que para Piana también ha significado volver a cuestionar el nexo que junta la estructura material del sonido y, en general, de los materiales de la experiencia con las formas en las que están codificados ling...
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