CFCUL - Artigos em Revistas Internacionais
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- Review to Stephen Pollard. Ernst Schröder on Algebra and LogicPublication . Bertran-San-Millán, Joan
- Empathy in Art and Science: Embodied Cognition and Affect in FilmPublication . Corrêa, Graça P.Empathy is a major aspect of the interplay between filmmaking and reception. Philosophers and neuroscientists have asserted how film’s technical and conceptual devices seemingly simulate the streamings of consciousness by rendering through images the very processes of thought. More recently, in a noteworthy collaborative work between neuroscience and film theory, Vittorio Gallese and Michele Guerra (2020) have observed how the process of “embodied simulation” is at the basis of empathy, making possible intense and diversified experiences of space, objects and other individuals, and offering an important contribution to the study of how films are experienced and co-created by viewers. Drawing on these arguments from neuroscience, philosophy and film theory, in this paper I explore a renewed relationship between empathy and film aesthetics.
- Correction: Introduction: Language and WorldviewsPublication . Gontier, Nathalie; Couto, Diana; Fontaine, Matthieu; Magnani, Lorenzo; Arfini, Selene
- Longing and belonging through migration: Otherness and empathy in theatre and philosophyPublication . Corrêa, Graça P.This article examines how theatre and philosophy may critically contribute to discussing empathy towards otherness in the context of the ongoing massive surge of migration across the globe. Drawing on concepts from philosophical works by Baruch Spinoza, Henri Bergson and Jacques Derrida, it investigates how different dramaturgical techniques and aesthetics ‐ namely in Euripedes' Children of Heracles (c.430 BCE), Roland Schimmelpfennig's The Golden Dragon (2009) and Nikos Kazantzakis and Graça P. Corrêa's Christ Recrucified (1954/2018) ‐ address ethical-affective percepts such as empathy and hospitality in a theatre dealing with migration experiences.
- On Creativity and Generative-AI Aesthetics: some thoughts and concernsPublication . Corrêa, Graça P.This article starts by approaching categorizations of value in art, as well as different concepts of art, to discuss how they may apply to generative AI aesthetics. Drawing on Peirce’s seminal concepts of abductive creativity and agapism, in addition to notions of embodiment from neuroscience and phenomenology, it argues that creativity in art entails embodied and environed living agents. Keywords: art and technology, artificial intelligence, generative AI (GAI), Artificial Intelligence Generated Content (AIGC), Peirce agapism.
- The Gothic Uncanny: Selected Mind-Images in Literature and FilmPublication . Corrêa, Graça P.The concept of the uncanny has been a focus of critical, literary, and philosophical reflection since the nineteenth century. Nonetheless, especially in continental Europe, two essays on the subject—both written in German, from the early twentieth century—particularly stand out: the first by Ernst Jentsch in 1906 (“On the Psychology of the Uncanny”); the second by Sigmund Freud in 1919 (“The Uncanny”). Although distinct, these two reflections on the uncanny are admittedly inspired by a tale of Gothic fiction of the early nineteenth century written by E.T.A. Hoffmann and entitled “The Sandman” (1817). In this article, I approach the Gothic uncanny of family relations as evoked in tales by E.T.A. Hoffmann and Edgar Allan Poe, and in films by Alfred Hitchcock, David Lynch and Stanley Kubrick. Although Gothic fiction’s tendency to render everyday objects and events disturbingly terrifying and strange has been predominantly investigated through Freudian psychoanalytic lenses, I will draw on schizoanalysis and the Deleuzian time-image to supplement and challenge existing psychoanalytic assessments of the uncanny.
- The machine-organism relation revisitedPublication . Esposito, Maurizio; Baravalle, LorenzoThis article addresses some crucial assumptions that are rarely acknowledged when organisms and machines are compared. We begin by presenting a short historical reconstruction of the concept of "machine." We show that there has never been a unique and widely accepted definition of "machine" and that the extant definitions are based on specific technologies. Then we argue that, despite the concept's ambiguity, we can still defend a more robust, specific, and useful notion of machine analogy that accounts for successful strategies in connecting specific devices (or mechanisms) with particular living phenomena. For that purpose, we distinguish between what we call "generic identity" and proper "machine analogy." We suggest that "generic identity"-which, roughly stated, presumes that some sort of vague similarity might exist between organisms and machines-is a source of the confusion haunting many persistent disagreements and that, accordingly, it should be dismissed. Instead, we endorse a particular form of "machine analogy" where the relation between organic phenomena and mechanical devices is not generic but specific and grounded on the identification of shared "invariants." We propose that the machine analogy is a kind of analogy as proportion and we elucidate how this is used or might be used in scientific practices. We finally argue that while organisms are not machines in a generic sense, they might share many robust "invariants," which justify the scientists' use of machine analogies for grasping living phenomena.
- Fundamentos e aplicações da sentiômica: a ciência da capacidade de sentirPublication . Pereira Jr., Alfredo; Aguiar, Vinícius Jonas deA sentiência, definida como a capacidade inconsciente de se ter experiência consciente do sentir, é um fenômeno psicobiológico, envolvendo padrões dinâmicos de ondas eletroquímicas, em sistemas vivos. O processo de sentir pode ser estudado em duas modalidades: a) identificação empírica e análise dos padrões temporais universais que caracterizam a sentiência, cujo estudo seria a Sentiômica; b) identificação introspectiva e relato da variedade de experiências conscientes, na perspectiva de primeira pessoa, cujo estudo seria a Qualiômica. A Qualiômica é, sem dúvida, um desafio para a ciência convencional, como afirmado no “problema difícil da consciência” (CHALMERS, 1995), pois a perspectiva de primeira pessoa não é acessível aos métodos de medição e às explicações científicas convencionais. A Sentiômica, enfocando padrões dinâmicos que definem a capacidade de sentir, é, portanto, por definição, suscetível de um tratamento empírico e experimental. Neste artigo, propõe-se contextualizar pressupostos e problemas filosóficos da Sentiômica e apresentar algumas das suas diversas aplicações, com foco na sua relação com a música.
- Music Recommender Systems: A (Data) Science of Music Aesthetics?Publication . Aguiar, Vinicius deThis paper investigates to which extent and in which ways data sciences and Arti cial Intelligence (AI), more speci cally recommender systems, are transforming music aesthetics. The interplays between music and AI are not new in history. But while historically, from Athanasius Kircher to Magenta, the focus has been the automatization of creativity, I argue that a new horizon of interplays between music aesthetics and AI has emerged with the massive popularization of streaming platforms powered by recommender systems. I show how the task of music recommendation powered by AI is transforming music aesthetics in three dimensions: epistemological, normative, and phenomenological semiotic.
- Situating physiology within evolutionary theoryPublication . Gontier, Nathalie