wangle
发表于 2025-3-23 10:33:06
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和音
发表于 2025-3-23 16:36:55
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尖酸一点
发表于 2025-3-23 18:39:31
https://doi.org/10.1007/978-3-030-11401-5: I argue for a practice-based variant of an ‘easy’ ontology of technical artefacts, and present such an ontology that is based in patent-law practice..The meta-ontological part focuses on work in analytic ontology. Here, the dominant ‘Quinean’ approach creates strong doubts concerning the very exis
manifestation
发表于 2025-3-24 00:54:14
Opportunities the TEF Can Offerthey have a special ontological status with respect to garden-variety technical artifacts. While the latter artifacts belong to two distinct ontological categories, namely, concrete particulars and types, social networks are rather abstract particulars, and this entitles us to cast them as sui gener
Palatial
发表于 2025-3-24 05:57:09
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insert
发表于 2025-3-24 09:38:54
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粗野
发表于 2025-3-24 12:56:12
Santoshi Halder,Vassilios Argyropoulosuld become a morally acceptable option. The chapter is divided in two parts. In the first part, I shall point out arguments against and in favour, advantages and advantages, of AWT. In the second part, I shall show how artificial-womb can be seen as a technology that might be used also by women who
含糊
发表于 2025-3-24 15:17:05
Disability and Ukrainian Urban Spaceoduction takes place through societally funded medical procedures but without public discussion, ethical and environmental considerations. Since human beings are the biggest source of carbon emissions on the planet, it is imperative to impose regulations on the ART industry in order to reduce life-t
浮雕
发表于 2025-3-24 21:45:51
Ana Larsen,Liam Frost-Camillerivolutions regarding the artistic medium. The notion of an artistic medium is central to our thinking about, engagement with, and appreciation of art. Accounts of the interpretation, understanding, and experience of art must at some point grapple with the role of the artistic medium against such ende
Confirm
发表于 2025-3-25 02:43:14
Sara Weuffen,Jenene Burke,Susan Emmetthis fourth wall is foregrounded or broken. For this purpose, I first define the videogame experience as a self-involving, interactive fiction experience, based on Kendall Walton’s account of fiction (1990). I then describe how, in the current academic discourse on games, it is often claimed that the