Human errors are probably the main cause of car accidents, and this type of vehicle is one of the most dangerous forms of transport for people. The danger comes from the fact that on public roads there are simultaneously different types of actors (drivers, pedestrians or cyclists) and many objects that change their position over time, making difficult to predict their immediate movements. The intelligent transport system (ITS-G5) standard specifies the European communication technologies and protocols to assist public road users, providing them with relevant information. The scientific community is developing ITS-G5 applications for various purposes, among which is the increasing of pedestrian safety. This paper describes the developed work to implement an ITS-G5 prototype that aims at the increasing of pedestrian and driver safety in the vicinity of a pedestrian crosswalk by sending ITS-G5 decentralized environmental notification messages (DENM) to the vehicles. These messages are analyzed, and if they are relevant, they are presented to the driver through a car’s onboard infotainment system. This alert allows the driver to take safety precautions to prevent accidents. The implemented prototype was tested in a controlled environment pedestrian crosswalk. The results showed the capacity of the prototype for detecting pedestrians, suitable message sending, the reception and processing on a vehicle onboard unit (OBU) module and its presentation on the car onboard infotainment system.
We present the structure and guiding principles of this Special Issue, with a brief description of the participants’ contributions and the relations holding between them. The intersection between aesthetics and ethics as a field of philosophical enquiry is presented under the guise of a ‘layer cake’: at the top layer we find the most general metaphysical and epistemological issues concerning the nature of value, aesthetic and ethical; the middle layer encompasses several normative issues about the interactions of aesthetic, moral and cognitive values in art; finally at the bottom layer we introduce issues of a more restricted focus, like the aesthetic peculiarity of political songs and the ethics of artistic appropriation.
The experience of beauty is no less mysterious for the aesthetician today than it was in the Middle Ages. Here I focus on the notion of ‘unseen beauty’ and how certain aspects of medieval philosophizing about the nature of beauty can still be of use for the contemporary aesthetician. I draw a comparison between some concepts that pervade the whole of the Medieval period – that there is a transcendent source of visible beauty, and that visible beauties function as images of the invisible beauty – with a modern conception of aesthetic experience, as it is expressed in authors like Clive Bell.
This paper is about the dilemma raised against musical ontology by Roger Scruton, in his The Aesthetics of Music: either musical ontology is about certain mind-independent "things" (sound structures) and so music is left out of the picture, or it is about an "intentional object" and so its puzzles are susceptible of an arbitrary answer. I argue the dilemma is merely apparent and deny that musical works can be identified with sound structures, whether or not conceived as abstract entities. The general idea is this: both Platonism and nominalism about musical works are a kind of fetishism: musical works are not "things", in Danto's sense of "mere real things"; they rather involve complex relationships between objects, events, and different kinds of functional properties. For this, I draw on Levinson and Howell's notion of indication, combined with Searle's approach to institutional reality... with a little twist of my own.
Some think politics and art should not mix. The problem with this view is that politics and art were always entwined. Human experience is structured politically, even if much of it is not. Here, I illustrate this with a series of artistic examples that take us from work songs in a Mississippi 1940s forced labour camp to a desolate dead forest landscape in a former Krasnoyarsk gulag, evocative of a Paul Nash World War I painting. Powerful artworks help us to come to grips with human experience, more than merely “expressing emotion”. I treat songs as representations, looking for a way their political significance is part of their aesthetic value. To do this, I defend James Young’s (2001) concept of “illustrative representation” as bridging the gap between formalism and contextualism. But instead of Young’s “Wollheimian” (resemblance between experiences) approach to how such representation works I draw on Kulvicki’s (2020) notion of “syntactic parts”, combining it with Carroll’s (2016) concept of form as the “ensemble of artistic choices”, and Black’s (1954-55) frame-and-focus model of meaning in metaphor. Hopefully, in the end I will have clarified the ways in which (some) songs are both politically and aesthetically meaningful.
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