Paulo Alexandre e Castro

In this chapter we seek to cross some elements of the philosophy of mind, namely, the myth of mind uploading and a certain perspective on the extended theory of mind (and not, as would be expected, with any computational theory of mind) with a specific type of cybercrime, neurohacking, to outline and present what we call the Artificial Extended Mind (AEMt) theory. Thus, in practical terms one can think, on the one hand, that the extended mind theory is not just a theory among others but that it is something deeply connected to human reality and, on the other hand, that although the fanciful prospect of mind uploading has been generally accepted as such, alarming signs are beginning to be seen, precisely through neurocrime. Considering this, we can pose the question: is our technological mind also an artificial (extended) mind?

This first chapter presents a brief reflection on the challenges that the human mind faces due to the technological developments that have occurred in recent years. A reflection that is made between philosophy and technology and that included several authors. With different approaches, different perspectives are also presented, which end up making this book a fundamental manual for understanding the relationship between the human mind and technology. These are the challenges of a technological mind.

This essay seeks to provide a detailed analysis of chapter 12 of Peter Singer’s Practical Ethics. Fundamental chapter not only for understanding the author’s ethical and moral thought, but also for understanding the author’s cultural and civilizational thought. It is in this sense that the question posed in the title - why act morally - is not limited to the horizon of the redundant discussion of personal interest or educational factors but becomes the philosophical-ethical exercise of inquiry into human action in the world, and therefore, It is a question that is rooted within ethics itself (as the author states), that is, as the foundation of human action. The essay ends with a reflection on the validity of the author’s ethical thinking in this specific chapter and some considerations on the philosopher’s general ethical thought.

Este ensaio estabelece uma comparação estética e fenomenológica entre os pensamentos de Yves-Klein e Merleau-Ponty. Se o pintor materializou as suas reflexões e concepções em obra pictórica, o fenomenólogo francês dissertou na escrita filosófica o resultado da sua reflexão. Da análise conjunta entre um e outro resulta esta fenomenologia e estética comparativa que apresenta alguns conceitos fundamentais que alimentaram essas reflexões, tais como a visibilidade, o corpo, o mundo. Assim, para além dessa comparação, este ensaio viabiliza o diálogo entre ambos. Palavras-chave: Corpo. Mundo. Visibilidade. Merleau-Ponty. Yves Klein Abstract:This essay establishes an aesthetic and phenomenological comparison between the thoughts of Yves-Klein and Merleau-Ponty. If the painter materialized his reflections and concepts in pictorial work, the French phenomenologist disserted in the philosophical writing the result of his reflection. From the joint analysis between one and the other, this phenomenology and comparative aesthetics results, which presents some fundamental concepts that fed these reflections such as visibility, the body, the world. Thus, in addition to this comparison, this essay enables the dialogue between both. Keywords: Body. World. Visibility. Merleau-Ponty. Yves Klein.

This book presents a set of texts that reflect different approaches to the relationship between mind and technology. In today’s increasingly technological world, a myriad of different and dizzying challenges face humanity: the ever-closer relationship between man and machine, the exponential development of Artificial Intelligence, man's relationship with virtual worlds, the relationship with new realities such as the neuro potentiation of his capacities, the appearance of robots in everyday life, and so on. In this volume, renowned world specialists explore these concerns, and discuss limitations and possible problems surrounding the interaction of man and machine. The book provides a well-researched, thought-provoking analysis of the need to rethink the theory of the mind, proposing relevant answers to pressing questions and raising new questions that need to be considered.

Cruzeiro Seixas is one of the main representatives of Portuguese and European surrealism, despite having initially started with neo-realism. Alongside figures such as Mário Cesariny, Carlos Calvet, António Maria Lisboa, Pedro Oom or Mário Henrique Leiria, the artist created a very unique style that allows immediate recognition of his work. If it is true that this recognition depends a lot on the pictorial, stylistic, artistic presentation, it is no less true that this happens due to the permanent use of a language that, on the one hand, keeps surrealism alive, and on the other hand, allows the affirmation of a narrative that does not run out of time in the discourses of history or art criticism. It is not a question of reinventing surrealism but of making it known as it is, as it happens in the reality of the human psyche. And what happens is images of weirds corpses in unreal scenarios, as it must be all the mind scenarios. Cruzeiro Seixas is an artist of human reality and this essay seeks to give an account of his work and thereby clarify how surrealism remains alive today.

Richard Rorty’s philosophy of mind is the foundation for its neo-pragmatism thought. This may seem strange at first sight, however, when taking a closer look we can find the links between them. When Richard Rorty first writes Philosophy and the Mirror of Nature, he was not just establishing a justification for pragmatism and/or for the foundations of a new epistemology; in fact, Rorty was creating the foundations of thinking about the role of humanities in the construction of modern man. This means that Richard Rorty is delivering the conditions to think seriously about human consciousness, about human mind and, therefore, to think about the role of men (its implications in the development of) and society.

Johann Gottfried Herder, like his contemporaries, reflected on language and in 1772 published the Treatise on the Origin of Language, which in the previous year had earned the distinction of the Berlin Academy for best essay. However, even today, much of his thought is unknown, ignoring the fact that some of the modern approaches of contemporary philosophy, philosophical anthropology or even sociobiology are already stated there, namely in the narratives resulting from the enunciation of the four natural laws. More than justifying the origin of language, the philosopher’s essay also allows us to understand human nature, inserting its genesis at the heart of philosophical anthropology and contradicting, if not even confronting in this way, the divine tradition of this attribution. Thus, at first, a generic analysis of the work will be carried out, highlighting the fundamental theses that will allow the establishment of a dialogue with some of the contemporary philosophical approaches. Then, admitting the possibility of a scenario of technological singularity, as stated by Irving John Good, Vernor Vinge or Ray Kurzweil, to verify the plausibility and validity of Herder’s theses regarding the scope of language and human nature and how this could constitute a frontier of resistance.

At the entrance of the Temple of Delphi, the inscription possibly best known in the history of ideas warned about the importance of self-knowledge. In turn, this inscription is philosophically unfolded by the argument that one can only know oneself who cares, since caring is already in itself, to know oneself. Accordingly, many of the ancient medical practices recommended healing through the word. However, only with the advent of clinical hypnosis has this practice recovered, which in theoretical terms seems to run counter to the main lines of the philosophy of mind, whether from the physicalist or the dualistic point of view. In this essay, we will try to show to what extent the concepts of caring and mind can be compatible according to these areas.

It is possible today to determine, with some precision (according to the most recent studies in neuroscience and evolutionary psychology), the areas of the brain and the neural networks involved when an individual contemplates art, when feeling pleasure, or when judging about aesthetic experience. However, many questions remain open. First, the philosophical question about the subjective nature of this kind of judgments. Then, what happens in the mind (or should it be said, in the brain?) of the beholder when contemplating art or judging in favor (or not) of the beauty of an object. And the ultimate question, if we have an aesthetic brain. Another issue that must be addressed is if bioart and especially neuroart can contribute to this analysis and if they can be effectively quantified as art. Thus, this brief essay seeks to provide some understanding about this questions but most importantly about the existence of an aesthetic brain, which may ultimately contribute to open doors to other problems of philosophy such as the hard brain-mind problem.

This paper begins with the examination of some premises of Mary Shelley's novel, Frankenstein or the Modern Prometheus, and briefly revisits some of the concepts or ideas that she had adapted and that will allow to determine the premises that characterize what we named as Frankenstein Paradigm. Such a paradigm, as we suggested, allows us to perceive, on the one hand, the avant-garde vision of Mary Shelley about human condition (regardless of literary immersion in gothic subjects), and on the other hand, the complexity of themes that would mark what is termed by post-human, that we will give some examples whether in contemporary art or in the framework of figures and representations of daily life (some illustrations on movies will be given). In this regard, we will notice the prosthetic transformations that have already occurred and, therefore, to verify the practical application of the premises contained in the Frankenstein paradigm. Next, it is necessary to carry out a reflection on the ethical and social implications posed by post-humanism as the well-known paradox of the ship of Theseus (which, as we all know, illustrates the problem of identity).

Contents Preface - ix I. Scientific fiction movies: is there any place for God?! 1. A brief introduction about the birth of science fiction - 15 2. Religious beliefs vs Science Fiction - 18 3. Is there any place for God?! - 20 II. The Village (M. Night Shyamalan) and The Giver (Phillip Noyce) or why utopia is (im)possible 1. Some utopian notions. Remembering Thomas More - 29 2. The Village and The Giver. Some remarks on ideal societies - 34 3. Notes about the possible and impossible of utopia - 39 III. The limits of Zombies films are the limits of philosophy? 1. Are zombies real? From folklore to films - 46 2. The mind-body problem and the empty-minded zombies? - 54 3. The fallacy of the question. Zombies films and philosophy with no limit - 61 IV. Lucy - why the brain cannot be a screen 1. Lucy and some other movies - The ten percent of the brain myth - 67 2. The enhancement of humanity -The pos-humanism after Nietzsche – 71 3. About the mind and the brain. Lucy or why the brain cannot be a screen – 74 V. Viktor Navorski and Sir Alfred: the limits of consciousness at the border of chaos 1. About the terminal, Locke and Lipovetsky - 83 2. Being someone at a non-place - 87 3. Reality vs fiction. Merhan Karimi Nasseri as Sir Alfred - 89 VI. Alienation and slavery from Precious or what we do not want to see 1. Cinema as a moment or the exclusive experience of feeling cinema - 97 2. Two movies, only one reality - 101 3. To conclude: the paradox of precious silence or what we don't want to see - 104 VII. Philosophy of time and being in Alice through the looking glass 1. Some initial considerations on Alice - 113 2. The impossible and the possible in Alice’s time - 116 3. About time and subjectivity and subjectivity in time – 120 References - cxxv

O livro Ensaios (modernos) de Filosofia Antiga reúne três ensaios filosóficos que se apresentam escritos de forma clara e descomprometida, não descurando, contudo, a composição académica que deve nortear os trabalhos de investigação. Assim, o primeiro ensaio aborda sem complexos a questão da vivência da sexualidade na antiguidade grega e resgata uma reflexão crítica para a interpretação moderna que pode ser definida como arte da sexualidade. O segundo ensaio destaca uma figura e um tema pouco abordado na história e filosofia antiga, a figura do coração como ponto fundamental para a compreensão do pensamento metafísico e da natureza humana no quadro geral do milagre da vida. O terceiro e último ensaio, talvez o mais académico dos três, debruça-se especificamente sobre o conceito de justiça no livro V da Ética a Nicómaco de Aristóteles, recordando ao leitor não apenas a importância da leitura dos clássicos para o entendimento do pensamento humano mas também da rectidão ética que deve pautar a conduta humana. É um livro essencialmente dirigido a estudantes de ciências sociais e humanas mas que pode ser lido por todos os que se interessem por estes temas.

Pretende-se com este ensaio criar um lugar de esclarecimento para apresentar um outro Wittgenstein, isto é, para apresentar no quadro da filosofia da linguagem presente na obra maior, o Tractatus Logico-Philosophicus, a possibilidade de uma outra linguagem. Não pretendemos expor o Wittgenstein dito lógico, o prelector agressivo de deduções espontâneas mas sim, mas um Wittgenstein pensador do mundo e da linguagem que diz esse mesmo mundo. Ora, no mundo humano o místico ocupa um lugar no conjunto de crenças, o que implica por sua vez uma linguagem para o dizer ou para o permitir mostrar. Assim, Wittgenstein encontra no místico o lugar de eleição de uma linguagem que o situa fora do contexto pragmático do Tractatus e mesmo dos jogos da linguagem, e é sobre esse místico e sobre o alcance que obtém na filosofia da linguagem que este ensaio se debruça.

O presente artigo pretende abordar o conceito de trágico, entendido como elemento principal ou elemento orquestrador do projecto nietzschiano em busca de uma determinação para uma nova forma de existência estética. Objectivo do autor é, pois, em primeiro lugar, explicitar o sentido da nova existência estética tal como Nietzsche, pela mão de Zaratustra, imputa à figura do Übermensch, o qual estabelece um projecto de justificação estética; em segundo lugar, trata-se de mostrar que o conceito de 'trágico'está estreitamente relacionado com o conceito metafísico de 'eterno retorno'de tal modo que isso pretende, por um lado, ultrapassar a dimensão determinada da vida humana em algo maior ou melhor, e, por outro, visa a completa realização da vida humana que pode ser repetida, salientando que este movimento de repetição afirma o retorno dionisíaco do trágico. Objectivo do autor do artigo é, assim, provar que o projecto nietzschiano anuncia o Übermensch como uma nova forma de existência estética, ao mesmo tempo que recupera os conceitos de 'trágico' e 'dionisíaco', conceitos estes que animam a obra Die Geburt der Tragödie. Consequentemente, trata-se de ver até que ponto o Übermensch está afirmado como objectivo necessário e primário neste projecto, o qual permanece, contudo, uma herança enigmática em que nos deixa a filosofia de Nietzsche. /// The present article presents a brief approach to the concept of the 'tragic' understood as a main element or a conducting element in the Nietzschean project that searches for a determination of a new form of aesthetic existence. The author aims, thus, at two things: first, to explicit the meaning of this new aesthetic existence that Nietzsche, by the hand of Zarathustra, imputes to the figure of the Übermensch, which establishes a project of aesthetic justification; secondly, to show that the concept of the 'tragic' is closely related to the metaphysical concept of the 'eternal return' in such a way that it purposes, on the one hand, to surpass a determined dimension of human life into something bigger or better, and, on the other, to bring about a complete realisation of human life that can be repeated, so that the movement of repetition qffirms the dionysiac return of the tragic. The goal of the article is, moreover, to prove that the Nietzschean project announces the Übermensch as a new form of aesthetic existence while recovering the main concepts of 'tragic' and 'dionysiac', concepts that animate the book Die Geburt der Tragödie. Therefore, we shall see how the Ubermensch is placed as a necessary and prime objective in this project, which remains part of the enigmatic legacy with which Nietzsche's philosophy leaves us.

Alienation and slavery from Precious or what we don't want to see. It is our purpose to establish, in a parallel reading, these two films (highly rewarded), namely The Fence and Precious, that apparently being so different, are an illustration of the reality of life and the modern democratic world: the social uprooting and slavery. If in the movie of Phillip Noyce and Christone Olsen The Fence, is told a story of three young Aboriginal girls who are forcibly taken to be transformed into domestic slaves, in the movie of Lee Daniels Precious, the young woman is already a servant in her own home and seeks the transformation of her life. Uniting these two stories, we find fundamental elements: illiteracy, ill-treatment, the idea of a migration (real or metaphysical), among others, but whose fundamental notion is the journey. If the film The Fence, the fence itself is used to conduct the three young Aboriginal to a real reunion with the family, in Precious, the metaphorical ‘fence’ is the limit of her world. From this interpretation, we will undertake our reflection about what we consider to be the alienation of the modern world and the silence we produce about them.

Pretendemos com este ensaio fazer uma bordagem à filosofia fenomenológica da linguagem de Heidegger; abordagem que procura realizar, senão mesmo justificar, isso mesmo que subjaz a uma linguagem que é doação, que é fazer vir à presença aquilo que é nomeado. Mas linguagem tem um sentido mais lato que não apenas fala ou falado. Linguagem como ‘dizer’. Um ‘dizer’ que se escuta para lá do simples dito, para lá de qualquer modo de ser do dasein (autêntico ou inautêntico), para lá do quotidianamente falado. Ou seja, o que permite tornar perceptível e inteligível as sentenças “o homem fala” e, “die sprache spricht”, o que permite dizer que o dasein é aquele que só pode advir através da linguagem mas simultaneamente é aquele pelo qual só o ser pode falar, é aquilo que apelidámos de ontopotencialidade. Tendo a linguagem esta ontopotencialidade, i.e., a potencialidade de doação permanente, de permitir um acontecer possibilitante de mundo(s) que instituem uma abertura, ela possibilita a manutenção dessa mesma abertura. Eis a tarefa do nosso ensaio. Dividimos assim a nossa comunicação em três partes, a saber: 1) A origem necessária: Logos – O discurso como mostração; 2) Linguagem e Poesia – A essência da arte e a arte da essência; 3) A Ontopotencialidade da linguagem – definição e síntese.