scholarly journals Agents Enacting Social Roles. Balancing Formal Structure and Practical Rationality in MAS Design

Author(s):  
Martin Meister ◽  
Diemo Urbig ◽  
Kay Schröter ◽  
Renate Gerstl
2021 ◽  
Vol 77 (Extra 295) ◽  
pp. 491-500
Author(s):  
Lydia de Tienda Palop

The concept of rationality is strongly normative. Indeed, qualifying an action as rational implies demarcating spaces of inclusion and exclusion that have a practical impact. However, the notion of rationality is not fully explained. In this article I intend to clarify the constitutive elements of the formal structure of practical rationality in order to facilitate its conceptualisation.


2017 ◽  
Vol 10 (1) ◽  
pp. 1-25
Author(s):  
Dale Dorsey

A number of recent (and not so recent) works in the metaethics of practical rationality have suggested that features of a person’s character, commitments, projects, practical identities and social roles have important normative consequences. For instance, I might commit to caring for a loved one, or I might become an artist, or take on the role of father to a child. In each case, it seems right to say that the normative landscape I face has been altered by this new fact – to put them under one general heading, the new fact about my self. In this paper, I explore the normative significance of self and how best it is to be understood. Typically, views that posit the normative significance of self hold that the content of one’s self can create practical reasons to behave in particular ways. For instance, if I become a father, this means that there are additional reasons to care for my child than there were prior to this fact of self. I argue, however, that this suggestion cannot be plausibly sustained – facts of self do not give rise to practical reasons. I show that, while there are two ways that facts of self might give rise to or create new practical reasons, both succumb to very serious problems. However, or so I also argue, we can salvage the normative significance of self via an alternative mechanism. Facts of self, such as the fact that one is an artist or a father, do not create new reasons. Rather, they strengthen certain pre-existing reasons, viz., those reasons to which I am especially susceptible given this fact of self.


2020 ◽  
Vol 56 (1) ◽  
pp. 70-80
Author(s):  
Alexander Noyes ◽  
Frank C. Keil ◽  
Yarrow Dunham

2014 ◽  
Author(s):  
Anne Koenig ◽  
Alice Eagly
Keyword(s):  

1997 ◽  
Author(s):  
Kennon M. Sheldon ◽  
Richard M. Ryan ◽  
Laird J. Rawsthorne ◽  
Barbara Ilardi
Keyword(s):  

1998 ◽  
pp. 71-74
Author(s):  
M. E. Nielsen

I suggest a description of the theory that I find applicable to understanding self-knowledge. The theory of its own complexity focuses on the structure of individual thoughts about themselves. Own complexity concerns two features of a person's self-determination: the number of social roles that a person has, and the ability of a person to differentiate among these roles. For example, I would be considered a weak bearer of the idea of ​​my own complexity if I considered myself as the bearer of a relatively small number of roles and I would describe existing roles as similar to those that I carry out. I would have a greater degree of my own complexity if I looked at the number of roles I increased and made more distinctions between them.


2013 ◽  
Vol 3 (2) ◽  
pp. 119-135
Author(s):  
Giles Whiteley

Walter Pater's late-nineteenth-century literary genre of the imaginary portrait has received relatively little critical attention. Conceived of as something of a continuum between his role as an art critic and his fictional pursuits, this essay probes the liminal space of the imaginary portraits, focusing on the role of the parergon, or frame, in his portraits. Guided by Pater's reading of Kant, who distinguishes between the work (ergon) and that which lies outside of the work (the parergon), between inside and outside, and contextualised alongside the analysis of Derrida, who shows how such distinctions have always already deconstructed themselves, I demonstrate a similar operation at work in the portraits. By closely analysing the parerga of two of Pater's portraits, ‘Duke Carl of Rosenmold’ (1887) and ‘Apollo in Picardy’ (1893), focusing on his partial quotation of Goethe in the former, and his playful autocitation and impersonation of Heine in the latter, I argue that Pater's parerga seek to destabilise the relationship between text and context so that the parerga do not lie outside the text but are implicated throughout in their reading, changing the portraits constitutively. As such, the formal structure of the parergon in Pater's portraits is also a theoretical fulcrum in his aesthetic criticism and marks that space where the limits of, and distinctions between, art and life become blurred.


Author(s):  
V. I. Onoprienko

An expansion of information technologies in the world today is caused by progress of instrumental knowledge. It has been arisen a special technological area of knowledge engineering, which is related to practical rationality and experts’ knowledge for solving urgent problems of science and practice.


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