Matter as such produces nothing, changes nothing, does nothing; and however convenient it may afterwards be to abbreviate our nomenclature and our descriptions, we must most carefully realize in the outset that the spermatozoon, the nucleus, the chromosomes or the germ-plasma can never act as matter alone, but only as seats of energy and as centres of force.Science is a human endeavor that is rarely if ever just about science: it is also a social, political, and economic enterprise. As such (...) it is structured around an ethos: a belief system, or theory, that accounts for the nature of relevant aspects of existence. Much like other belief systems in the broader culture in which they occur, we build stories in defense... (shrink)

The feasibility of establishing a proper notion of a distinguishable object in the context of the de Broglie–Bohm approach to quantum mechanics seems, at first sight, uncontroversial by virtue of the fact that this theory can supposedly be interpreted in terms of a system of objective particles distinguished by individuating properties. However, after conducting a critical revision and evaluation of this trivial interpretation, and having assessed different alternatives that have been proposed in recent literature, I argue that within this theory (...) an appropriate notion of a distinguishable object can only be articulated by means of the following theoretical and metaphysical strategies: firstly, by appealing to a pre-existing, symmetrized Bohmian framework that is empirically indistinguishable but physically distinguishable from the standard Bohmian formulation; and secondly, by suggesting a different interpretation of this symmetrized formulation based upon a relational notion of the distinguishable object that can only be appropriately conceived from a structuralist point of view. (shrink)

Nichibunken 30th Anniversary: An essay in pointillism: a twinkling description; Seurat; words flash on and of; like stars; one after another; no connections of sentences; impressions; patches of words; mirroring; eccentric “monadology”; memories and projects; a fantasy; a celebration;.

This chapter examines whether space and extended bodies are ultimately composed of points (and point‐masses) or spatial regions (and voluminous bodies). It focuses on three positions: Pointillism, according to which only points and point‐sized bodies are fundamental; Voluminism, according to which the only fundamental things are regions and voluminous bodies; and Volume‐Boundary Dualism, according to which both points and regions really exist and are equally fundamental. The first prima facie problem for Voluminism concerns continuous variation. The chapter looks at (...) the idea of constructing points from regions and concerns whether points or regions are fundamental. It lays out three arguments against Pointillism, the thesis that points are the only fundamental entities, namely, the arguments from Finitism, from mathematical paradoxes, and from the nature of contact. Aristotelian Finitists can explain why some sets of points have measurable volume and why some do not. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Forgeries and Art Evaluation:An Argument for Dualism in AestheticsTomas Kulka (bio)If a fake is so expert that even after the most thorough and trustworthy examination its authenticity is still open to doubt, is it or is it not as satisfactory a work of art as if it were unequivocally genuine? 1It is a wonderful moment in the life of a lover of art when he finds himself suddenly confronted (...) with a hitherto unknown painting by a great master, untouched, on the original canvas, and without any restoration, just as it left the painter's studio. And what a picture! Neither the beautiful signature... nor the pointillé on the bread which Christ is blessing, is necessary to convince us that we have here—I am inclined to say—the masterpiece of Johannes Vermeer of Delft... quite different from all his other paintings and yet every inch a Vermeer. In no other picture by the great master of Delft do we find such sentiment, such a profound understanding of the Bible story—a sentiment so nobly human expressed through the medium of highest art.2The author of these lines is Professor Abraham Bredius, the nestor of Holland's art historians and the greatest authority on seventeenth-century Dutch painting. The source is The Burlington Magazine for Connoisseurs, the most prestigious periodical for the history of art of the period. The year is 1937. The painting, however, is not a masterpiece of Vermeer but a fake produced by the mediocre Dutch artist Han van Meegeren.The Problem of ForgeryMany art dealers have been financially ruined, and many art historians academically discredited, because of incorrect attribution. Apart from the practical problems that worry curators and art historians, there is also a theoretical problem, which has become a subject of heated discussions since the late 1960s. The dispute gained a momentum with the publication of Nelson Goodman's Languages of Art. In its third chapter titled "Art and Authenticity," [End Page 58] which put the problem of forgeries on the agenda of contemporary aesthetics, Goodman states that a "philosopher of art caught without an answer to [the] question... why there is any aesthetic difference between a deceptive forgery and an original work... is at least as badly off as a curator of paintings caught taking a Van Meegeren Vermeer for a Vermeer."3Although the literature on the problem of forgeries is extensive, the answers that have been put forward fall roughly into three categories: the formalist answer, which states that there is no aesthetic difference between an original painting and a deceptive forgery; the reductionist answer, which claims that there is such a difference and that it can be traced to the minute physical differences between originals and its copies; and the historicist answer, which also asserts that there must be an aesthetic difference but claims that it stems from the different histories of the two objects.The most prominent proponent of the formalist approach is Monroe C. Beardsley. His theory is based on the assumption that "two objects that do not differ in any observable qualities cannot differ in aesthetic value."4 Aesthetic formalism, as the name suggests, maintains that works of art should be judged according to their form. Only the visual features of the painted surface—the configuration of its lines and colors, composition, spatial relations, texture, design, etc., are relevant for its appreciation. The subject of our evaluation is the finished product, not the information pertaining to the history of its production. Who, when, and where painted the picture, just like the intentions of the painter, are irrelevant for the assessment of its aesthetic qualities. Only the "internal" properties, that is, the properties of the "work itself," count. The "external" properties, by which Beardsley means anything that "relates to something existing before the work itself, to the manner in which it was produced, or its connection to antecedent objects," have no bearing on aesthetic value. Hence the conclusion that if fakes resemble the original "in their internal characteristics, so that no one could tell them apart just by looking at them" there can be no aesthetic difference between them.5 Originality is thus excluded... (shrink)

Marcel Beaufils fut un pedagogue exceptionnel qui exerca une influence decisive sur l'evolution de l'esthetique musicale en France, a partir des annees 50. Or, parmi ses ouvrages, Musique du son, musique du verbe est tres certainement celui qui porte le plus fortement la marque de son activite d'enseignant au Conservatoire National Superieur de Musique de Paris ; cette mission, il semblait l'entendre davantage comme celle d'un declencheur d'idees, catalyseur, plutot que du transmetteur d'un savoir fige une fois pour toutes. Bouleversant (...) toute tentative de classification academique, toute certitude acquise, ce livre laisse des pointilles ; un grand souffle traverse son ecriture. N'en deplaise aux musicographes, il s'agit la d'un ouvrage de creation, qui nous rappelle que Marce Beaufils etait egalement un ecrivain qui savait manier le verbe a la fois en tant que dramaturge et en tant que poete. (shrink)

Marcel Beaufils fut un pedagogue exceptionnel qui exerca une influence decisive sur l'evolution de l'esthetique musicale en France, a partir des annees 50. Or, parmi ses ouvrages, Musique du son, musique du verbe est tres certainement celui qui porte le plus fortement la marque de son activite d'enseignant au Conservatoire National Superieur de Musique de Paris ; cette mission, il semblait l'entendre davantage comme celle d'un declencheur d'idees, catalyseur, plutot que du transmetteur d'un savoir fige une fois pour toutes. Bouleversant (...) toute tentative de classification academique, toute certitude acquise, ce livre laisse des pointilles ; un grand souffle traverse son ecriture. N'en deplaise aux musicographes, il s'agit la d'un ouvrage de creation, qui nous rappelle que Marce Beaufils etait egalement un ecrivain qui savait manier le verbe a la fois en tant que dramaturge et en tant que poete. (shrink)

Lukács est classé parmi les penseurs marxistes. Lui-même a décrit son « chemin vers Marx ». Mais quel genre de marxiste était-il? Certains le trouvent trop hégélien, d’autres déplorent son « orthodoxie sectaire »... Les essais qui constituent ce livre sont réunis par le même souci : tenter, par des voies différentes, de déterminer quel révolutionnaire il était, notamment à travers l’étude détaillée de l’évolution de sa pensée durant son séjour de dix ans, en Autriche, à l’époque de l’austro-marxisme appliqué (...) de « Vienne-la-Rouge » et par une recherche sur la signification lukacsienne du personnage de Naphta dans « La Montagne magique » de Thomas Mann. À la fin du livre est retranscrite la dernière interview au cours de laquelle Lukács critique, en particulier, d’un point de vue marxiste, les dysfonctions bureaucratiques des régimes socialistes. À travers les figures contrastées et problématiques de Lukács, parfois dissimulé sous le masque stalinien, apparaît le personnage compliqué du grand philosophe hongrois et, en pointillé, celui qu’il aurait pu être. (shrink)

Étude de tessons hellénistiques trouvés dans un monastère bouddhiste de l'ancienne capitale de Ceylan : fragments de plats de « Rouletted ware » où l'influence hellénistique se marque par la couleur et le décor de pointillés et de filets ; col d'amphore ; vase proche des bols mégariens ; vases à vernis peut-être de type pergaménien. Remarques sur les relations commerciales entre Ceylan, et l'Empire Séleucide puis romain.

Ce livre reunit les textes de six conferences faites a l'automne 2000 a l'Universite de Louvain. Il s'est agi d'interroger, dans l'oeuvre de Heidegger, certains des textes qui touchent a la question du statut qui peut etre attribue a l'etre humain au sein de la question fondamentale qu'il reconnait comme celle qui a determine de bout en bout son "chemin de pensee", a savoir la question de l'etre. Ce que dessine ces quelques jalons, c'est le pointille d'un chemin qui l'eloigne (...) toujours davantage d'une pensee de l'existence de l'homme representee a partir de la notion de subjectivite. Heidegger s'engage ainsi sur la voie d'une toute autre experience de l'etre de l'homme que celle qui commande aujourd'hui les representations que nous faisons des spheres ethique et politique, sans que cependant la rupture qu'il opere avec l'anthropocentrisme qui regit depuis son debut la pensee moderne signifie l'abandon pur et simple de la question de l'homme. (shrink)

Doit-on juger l'engagement des femmes politiques dans l'immédiat après-guerre à l'aune de deux cents ans de militantisme en pointillé ou de la situation actuellle de nos élues et autres dirigeantes? C'est au travers de cette dialectique que l'on peut percevoir le sens de la première implication des Françaises dans le jeu public. Comment doit-on alors comprendre la « Libération »? Est-ce uniquement une période très marquée de l'histoire de nos institutions et/ou un état de grâce qui a permis une meilleure (...) redistribution du pouvoir? Les événements qui se succèdent du débarquement à l'installation de la IVe République tendent à montrer que le pouvoir a été mieux réparti entre les genres mais ils n'augurent pas d'un changement radical des structures de l'édifice politique. (shrink)

Dans ce nouveau livre consacré à la morale, Yvon Quiniou poursuit et approfondit la réflexion matérialiste qu'il lui consacre depuis longtemps. Il le fait ici en s'appuyant sur des auteurs dont la présence pourra surprendre, mais qu'il considère comme proches du matérialisme : Hume, Rousseau, mais aussi le pragmatiste Dewey, le rationaliste intransigeant Russell, ainsi que Marx et Gramsci, dont il marque fortement l'originalité sur la question des valeurs. Car ces auteurs ont bien en commun de prêter une forte attention, (...) théorique et pratique, à la morale, quitte à la confondre avec l'éthique et à se retrouver confrontés à la difficulté de penser un Universel moral... que leur philosophie admet cependant, fût-ce en pointillé. Cette dimension morale paraît essentielle à l'auteur, surtout si l'on pense à son prolongement politique. Il s'agit pour lui de lutter contre une indifférence morale désespérante qui a envahi la politique au nom de la seule efficacité rentable et qui, face à un capitalisme fondamentalement immoral parce qu'inhumain, nous mène à une impasse mondiale catastrophique."--Page 4 of cover. (shrink)

Paul Klee’s Ad Parnassum is a summing up of his explorations of new directions in painting, including Cubism, Pointillism, and “pure painting,” and his tenure at the Bauhaus. This large work is a complex composition of abbreviated geometric forms, dominated by a pyramid-shaped structure, color fields, a solid colored sun-like circle, and various substructures and under fields of color. Entirely constructed upon a pattern of white dots of different glazes, this mesmerizing painting creates a scintillating experience through these dots (...) in relation to the color fields. As part of new movements that wished to reexamine the nature of painting itself, and ultimately ideas of time and space, Klee both broke down traditional temporal and spatial treatment in art and illuminated the subjective space of his paintings through color and form. He expanded the new techniques by developing his own ideas of geometric form and color modalities, which are finely expressed in Ad Parnassum. This paper also discusses Klee’s complex incorporation of language elements and the effect of his travels in North Africa. Ultimately, one notices a reckoning of subjectivity and objectivity in all this, with, in this key painting, a highlighting of the relationship between stasis and flux, at its deepest level, releasing an affect of the aesthetic sublime in its viewer. (shrink)