There is rising skepticism within public discourse about the nature of AI. By skepticism, I mean doubt about what we know about AI. At the same time, some AI speakers are raising the kinds of issues that usually really matter in analysis, such as issues relating to consent and coercion. This essay takes up the question of whether we should analyze a conversation differently because it is between a human and AI instead of between two humans and, if so, why. (...) When is it okay, for instance, to read the phrases “please stop” or “please respect my boundaries” as meaning something other than what those phrases ordinarily mean – and what makes it so? If we ignore denials of consent, or put them in scare quotes, we should have a good reason. This essay focuses on two thinkers, Alan Turing and Stanley Cavell, who in different ways answer the question of whether it matters that a speaker is a machine. It proposes that Cavell’s work on the problem of other minds, in particular Cavell’s story in The Claim of Reason of an automaton whom he imagines meeting in a craftsman’s garden, may be especially helpful in thinking about how to analyze what AI has to say. (shrink)

In this essay, I respond to a problem raised by Sarah Broadie in her 1987 article “Nature, Craft and Phronesis in Aristotle.” Broadie analyzes Aristotle’s famous craft analogy for natural causation in order to determine whether or not it requires importing a psychological dimension to natural teleology. She argues that it is possible to make sense of the analogy without psychology, but that the tradeoff is a conception of craft so thoroughly de-psychologized that it is rendered unrecognizable, perhaps even incoherent (...) as a referent. I dispute this suggestion and argue, rather, that Aristotle’s insistence on removing psychology from the craft side of the analogy points to his prioritization of techne itself, rather than any particular craftsman, as primary efficient agent. The lack of psychology that characterizes a techne ensures stability and reliability in the causal process that could not be guaranteed by the idiosyncratic psychologies of various craftspeople. The same kind of stability and reliability belong to nature as an efficient cause, forming the basis of the comparison between craft and natural teleology. It is therefore the craft, not the craftsman, that must stand as analog to nature. I demonstrate the value of this revision by applying the analogy to the case of natural teleology: reproduction as depicted in Aristotle’s Generation of Animals. The result is a reading of Aristotle’s analogies that can assuage Broadie’s concerns and allow for a natural thing’s own nature to more fully inhabit its intended role as an inner source of change. (shrink)

In his opening speech, Timaeus (Timaeus27d5-29b1) argues that the cosmos must be the product of a craftsman looking to an eternal paradigm. Yet his premises seem at best to justify only that the world could have been made by such a craftsman. This paper seeks to clarify Timaeus’ justification for his stronger conclusion. It is argued that Timaeus sees a necessary role for craftsmanship as a cause that makes becoming like being.

Aristotle thinks that an account, alogos, of some sort is characteristic of craft,technē. Some scholars think that thelogoselement oftechnēis tagged onto experience as a theoretical element not directly engaged in successful production: I argue instead that thelogosgrounds the productive ability of craft, and also that is practically orientated in a way that distinguishes it from thelogosof theoretical science. Understanding thelogosof craft thus helps us explain how the craftsman differs both from the merely experienced practitioner and from the theoretical scientist.

Summary The early background of Robert Boyle, a leading advocate of the mechanical philosophy at the Restoration, helps to illuminate his later understanding of both the relationship between gentleman naturalists and artisans, as well as that of theoretical abstraction and practical application in experimental philosophy and the manual arts. Boyle's agenda for ethical reconstruction emphasized practical moral knowledge and a transformation in intellectual values which, reinforced by the general outlook of the Hartlib circle, postulated the desirability of knowledge gleaned from (...) scholars and artisans alike. The promotion of the manual arts, as contained in the general programme of Baconianism espoused by the Royal Society, helped Boyle's own unusual position as a chemist of high social rank. He hoped that chemical experiments could raise esteem for the ?useful art? of chemistry among naturalists if they would help establish the principles of the mechanical philosophy. (shrink)

It is commonly thought that a central lesson of Republic i is to indicate the flaws of the τέχνη model for thinking about justice and ruling. I provide a novel defense of Socrates’ arguments from τέχνη. I argue that (i) book 1 is less hostile to the τέχνη model than is often supposed and that (ii) Socrates’ arguments from τέχνη are more favorable than they are often supposed.

The Making of a Modern Indian Artist-Craftsman: Devi Prasad. By Naman P. AhuJa, with contributions by Krishna Kumar, Kristine Michael, Bob Overy, and Sunand Prasad. New Delhi: Routledge, 2012. Pp. 320, 392 illustrations. Rs. 2495.

Profound changes in world markets are resulting in conflict between traditional structures of production and new market requirements. The right answers to this challenge are heavily disputed. One option is to replace human work still further by artificially intelligent technology without changing basic structures of production. In contrast to this strategy, alternative production concepts seek to combine the unique human capabilities of perception, evaluation and decision making in unstructured situations with appropriately designed computer systems. Empirical evidence from the use of (...) NC technology indicates that sensual experience and practical knowledge are necessary ingredients rather than disappearing residuals of efficient production. By far their tacit dimension does not allow complete transformation into objectified, scientific knowledge. In the field of metal cutting it is the skilled workers themselves who constitute the primary source of productivity. In order to overcome their traditionally problematic and uncomfortable working situation, shop-floor programming methods have been developed that are adapted to their concrete and graphic mode of thinking and acting. These allow workers to make their own efficient NC programs, thus maintaining their practical competence. This paper illustrates a necessary new perspective in system design: away from developing computer programs for imitating and replacing human expertise and towards designing computers as a useful tool for human experts. (shrink)

Plato's dialogue the Timaeus-Critias presents two connected accounts, that of the story of Atlantis and its defeat by ancient Athens and that of the creation of the cosmos by a divine craftsman. This book offers a unified reading of the dialogue. It tackles a wide range of interpretative and philosophical issues. Topics discussed include the function of the famous Atlantis story, the notion of cosmology as 'myth' and as 'likely', and the role of God in Platonic cosmology. Other areas (...) commented upon are Plato's concepts of 'necessity' and 'teleology', the nature of the 'receptacle', the relationship between the soul and the body, the use of perception in cosmology, and the work's peculiar monologue form. The unifying theme is teleology: Plato's attempt to show the cosmos to be organised for the good. A central lesson which emerges is that the Timaeus is closer to Aristotle's physics than previously thought. (shrink)

This book is designed to appeal both to those interested in Roman poetry and to specialists in ancient philosophy. In it David Sedley explores Lucretius ' complex relationship with Greek culture, in particular with Empedocles, whose poetry was the model for his own, with Epicurus, the source of his philosophical inspiration, and with the Greek language itself. He includes a detailed reconstruction of Epicurus' great treatise On Nature, and seeks to show how Lucretius worked with this as his sole philosophical (...) source, but gradually emancipated himself from its structure, transforming its raw contents into something radically new. By pursuing these themes, the book uncovers many unrecognised aspects of Lucretius ' methods and achievements as a poetic craftsman. (shrink)

Aristotle's solution to the problem raised in Ch. 4 depends on his account of how we arrive at thoughts on the basis of experience. In his view, we standardly acquire a term for a kind on the basis of contact with members of a kind, without thereby knowing that the kind in question exists. Further, we can grasp such terms without knowing that the kind has a unifying basic feature that explains its necessary properties. Our understanding of the kind is (...) to be compared with that of a craftsman and not that of a proto‐scientist. Aristotle's view is distinguished from several twentieth‐century accounts of these issues. (shrink)

Table of Contents: Preface vii Introduction: Philosophy and Operationalism 1 1. "What was Worth Knowing" in 1500 10 2. Humanism and Ancient Wisdom: How to Learn Things in the Sixteenth Century 30 3. The Scholar and the Craftsman: Paracelsus, Gilbert, Bacon 49 4. Mathematics Challenges Philosphy: Galileo, Kepler, and the Surveyors 65 5. Mechanism: Descartes Builds a Universe 80 6. Extra-Curricular Activities: New Homes for Natural Knowledge 101 7. Experiment: How to Learn Things about Nature in the Seventeenth Century (...) 131 8. Cartesians and Newtonians 149 Conclusion: What was Worth Knowing by the Eighteenth Century 168 Notes and References 171 Documentation and Further Reading 181 Dramatis Personae 193 Glossary of Major Terms 197 Index 201. (shrink)

A far-reaching reinterpretation of Plato’s Timaeus and its engagement with time, eternity, body, and soul that in its original French edition profoundly influenced Derrida The Tomb of the Artisan God provides a radical rereading of Timaeus, Plato’s metaphysical text on time, eternity, and the relationship between soul and body. First published in French in 1995, the original edition of Serge Margel’s book included an extensive introductory essay by Jacques Derrida, who drew on Margel’s insights in developing his own concepts of (...) time, the promise, the world, and khōra. Now available in English with a new preface by Margel, this engagement with Platonic thought proceeds from two questions that span the history of philosophy: What is time? What is the body? Margel’s twinned interrogation centers around Plato’s concept of the demiurge (divine artisan or craftsman): its body, its anthropomorphic attributes, its productive capacities and regulatory functions in the ordering/organization/assembling of the world. He posits that this paradoxical figure is not merely a cosmological metaphor for the living body but also the site of its destruction, dissolution, and disappearance. Torn between the finite and the infinite, being and becoming, the concept of demiurge also poses metaphysical questions about time, time before time, and the end of time. The ontological status of the demiurge’s body, Margel argues, would become increasingly decisive in the history of philosophy, particularly in Christianity and the dogma of incarnation. (shrink)

The termTabulae Iliacaeis conventionally applied to twenty low reliefs scattered through museums from Warsaw to New York. The common name conceals a bewildering artistic farrago: the earliestTabula, theTabula Iliaca Capitolina, is mid-Augustan, the latest late Antonine. Five of theTabulaebear the name Theodorus and I shall argue that he is the craftsman responsible for their execution. Where provenance is known, it is always Rome or the Roman Campagna. The materials of theTabulaevary widely: most, but not all, are of some sort (...) of marble, white, yellow, and Giallo Antico. Little can be said of their size, for not one survives complete. It would appear, however, that the largest rectangularTabula, the calcite 1 A, was originallyc.25 cm by 42 cm. Two, portraying the Shield of Achilles, were circular and 5O may have had a radius of 20 cm. The nameIliacaeis appropriate only in as much as eleven out of twentyTabulaeportray episodes from theIliad and six the Sack of Ilium; others, however, represent Alexander's victory at Arbela and the apotheosis of Hercules. What theTabulaedo display in common is a combination of low reliefs in miniature and inscriptions, often extensive and not always on the same topic as the reliefs. In ancient art, only the Megarian bowls stand comparison, and their ratio of text to illustration is substantially lower. (shrink)

Plato's Timaeus contains a powerful and influential myth, of the construction of the universe by a divine craftsman. A god imposes reason on necessity, to bring order from a primeval 'receptacle' of disordered matter. There results the 'child' that is the cosmos - a copy of an eternally-existing perfect model. Here eight new essays from a distinguished international cast, explore aspects of this challenging work: the principles of the mythical narrative, how the world soul and human body are formed, (...) implications for illness - mental and physical, the importance of music and harmonious proportion. Later developments are also treated: Aristotle's theory of generation, the commentary of Proclus and elements of modern evolutionary theory. (shrink)

While there is a prolific debate surrounding the issue of conscientious objection of individuals towards performing certain clinical acts, this debate ignores the fact that there are other reasons why clinicians might wish to object providing specific services. This paper briefly discusses the idea that healthcare workers might object to providing specific services because they are against their professional judgement, they want to maintain a specific reputation, or they have pragmatic reasons. Reputation here is not simply understood as being in (...) good standing with a professional body. Rather, reputation is treated in the sense that a craftsman might wish to be known for providing a specific type, quality, and style of service. Professionalism is understood as acting according to the philosophical and scientific principles that are the basis of healthcare (such as acting for the benefit of the patient’s health and following well- evidenced treatment pathways). (shrink)

Dewey's conception of inquiry is often criticized for misdescribing the complexities of life that outstrip the reach of intelligence. This article argues that we can ascertain his subtle account of inquiry if we read it as a transformation of Aristotle's categories of knowledge: episteme, phronesis, and techne. For Dewey, inquiry is the process by which practical as well as theoretical knowledge emerges. He thus extends the contingency Aristotle attributes to ethical and political life to all domains of action. Knowledge claims (...) become experimental, the result of which makes them revisable in the context of experience. As a result, when we say a person (e.g., scientist, craftsman, or citizen) displays practical wisdom we are reading their judgments within a complex horizon, whose success as judgments require alertness and discernment of salient features in response to an uncertain environment. Contrary to his critics, he seeks to make us attuned to the world's inescapable, and sometimes, tragic complexity. (shrink)

ABSTRACT In the ‘Cook Ding cutting up an ox’ parable, Zhuangzi advanced a doctrine on craft and its relationship with Dao. With reference to Merleau-Ponty’s philosophy in conjunction with an analysis of Zhuangzi’s epistemological position, we argue that Zhuangzi understood craft as involving the supersession of the cognitive. In craft, the relationship between human and world is non-cognitive and ‘pre-objective’, the living of this kind of relationship gives rise to a non-cognitive ‘practical sense’ which enables the craftsman’s movements to (...) spontaneously constitute wuwei. Zhuangzi’s ideal is that this kind of relationship is generalized to life as a whole, thereby enabling human actions to spontaneously constitute wuwei generally. This is why he stipulated ‘doing away with knowing’ as a self-cultivation technique required for attaining Dao. Thus, craft constitutes an embodiment of Dao in the double-sense of wuwei and the non-cognitive and ‘pre-objective’ relationship between human and world which enables wuwei. (shrink)

The paper discusses Timaeus 27d5-29b1, i.e. part of the proem of Timaeus' lecture. This passage contains the exposition of three principles (27d5-28b2) and their application to certain questions intended to lay the foundations for the subsequent cosmology (28b2-29b1). I argue that one of the main results Timaeus wants to deduce from his principles, i.e. the claim that the cosmos has been constructed by a divine craftsman, is not warranted by his principles and rests on a rather conspicuous flaw in (...) the argument. I further discuss the question whether this mistake should be attributed to Plato or whether Plato deliberately has Timaeus commit this mistake; I argue for the second alternative. (shrink)

How was the world generated and how does matter continue to be ordered so that the world can continue functioning? Questions like these have existed as long as humanity has been capable of rational thought. In antiquity, Plato's Timaeus introduced the concept of the Demiurge, or Craftsman-god, to answer them. This lucid and wide-ranging book argues that the concept of the Demiurge was highly influential on the many discussions operating in Middle Platonist, Gnostic, Hermetic and Christian contexts in the (...) first three centuries AD. It explores key metaphysical problems such as the origin of evil, the relationship between matter and the First Principle and the deployment of ever-increasing numbers of secondary deities to insulate the First Principle from the sensible world. It also focuses on the decreasing importance of demiurgy in Neoplatonism, with its postulation of procession and return. (shrink)

In a document penned under the direction of its then-president Cardinal Joseph Ratzinger, the Vatican’s International Theological Commission observed that many neo-Darwinian materialists and their Christian critics share a misunderstanding of the nature of divine causality. This article explores the thought of Joseph Ratzinger in view of proposing the features of a path that seeks to eschew these faulty understandings of how God causes evolutionary change within our world, thus providing an alternative to the Intelligent Design movement’s approach to creation.. (...) Ratzinger has a deep respect for the integrity of nature, rejecting the notion that God is a “craftsman” who “tinkers” with the world. According to Ratzinger, evolutionary change occurs “precisely in the processes of a living being” even as human beings are “not the mere product of development.” Finally, the emeritus pontiff insists that creation is an ever-present act that unfolds “in the manner in which thought is creative,” a dynamic that he describes variously as a story, drama, melody, and symphony. Wedding these and other key insights, this article submits that Ratzinger’s thought on evolution should lead us to conceive of creation less along the lines of an intelligently designed machine and more as a masterpiece story that is continually being told as its plot unfolds naturally over the course of time. (shrink)

The Receptacle of the title is, of course, the ‘Receptacle of all becoming’ in Plato’s Timaeus. Plato likens it to a ‘nurse’, and even calls it a ‘mother’. He speaks of it as that in which its contents come to be, only in their turn to disappear from it. He compares it to a mass of gold which someone incessantly remoulds into different shape. He declares it completely unchanging: ‘it does not depart from its own character in any way'. What (...) is its character? It is the character of possessing and acquiring no character similar to that of any of the objects said to enter it and disappear from it. Plato says too that it is space; the receptacle is what makes it true that each of those objects is somewhere. And finally, as if he had not already given us far too much to digest of this very rich subject, Plato adds that the Receptacle shakes its contents with a sort of winnowing motion, and in fact was already doing this even before the craftsman god had formed this world of ours. The question of this paper is: what is the function of this multifariously conceived entity, or principle, the Receptacle? I shall approach by asking what its contents are. (shrink)

> The Japanese have a word which summarizes all the best in Japanese life, yet it has no explanation and cannot be translated. It is the word shibui, and the best approximation to its meaning is 'acerbic good taste'.—James A. Michener in Iberia The austere beauty of lacquerware, the wizened lines and thickened trunk of a 100-year-old bonsai, the veiled beauty of murky jade—what do all these have in common? These are the qualities of shibumi, a Japanese aesthetic defined by (...) the seven characteristics described by Dr Yanagi Soetsu1 in The Unknown Craftsman: simplicity, implicity, modesty, naturalness, everydayness, imperfection, silence. Derived from the root word shibui, literally meaning ‘bitter’, the antonym of amai, for sweet—the etymology of shibusa encapsulates the jolting acerbity of one inadvertently sinking her teeth into an unripe persimmon; paradoxically described as a moment of inward transcendence. Quite distinct from wabi-sabi—while pottery and stoneware may be embraced for organic lines reflecting naturalness and imperfections as an aesthetic; within the distillation of shibumi, beyond the asymmetrical and flawed, lies an appreciation of ‘beauty with inner implications’ that ‘allows depth of feeling to be visible through spare surface design thereby manifesting the invisible core that …. (shrink)

The servant lives within the social relations of feudal class estrangement. He is a natural moralist who keeps his eyes and his mind open, amidst the compromises, intricacies, and oppression of being a servant, and he sees and understands a good deal more than those around him. Above all, he is a craftsman of experience who, in making history with only a few resources, lives an examined life, and turns estrangement into a life lived for others. Along the way, (...) and ever sensitive to mundane hope and sorrow—even at the point of death—the servant offers educative insight into some of life’s questions. Within a broadly materialist and pragmatic framework, this article examines the concrete particularity of estrangement in terms of the servant’s actions, desires and relations with others. (shrink)

The -consensus of interpreters that gives books VII and VIII of the Politics a logical and chronological priority to books IV-VI and that claims that book VII advocates for an aristocratic regime must be abandoned. In fact, these last two books deal with questions which the legislator must know, but which fall short of any constitutional consideration. An image found in Book VII is illuminating: this book deals with the best conditions for life in the city and Aristotle compares it (...) to the material that the craftsman best arranges before giving his product its form. Prior for us, these considerations are therefore posterior by nature to the constitutional analyzes of books IV-VI. In light of the Aristotelian doctrine of two different kinds of priority, we can say that the manuscripts, which place books VII and VIII at the end of the Politics, adopt an Aristotelian order. (shrink)

Aristotle claims man is a political animal and that the polis exists by nature. Taking literally his analogy between the legislator and the craftsman, Aristotle's critics contend that he 'blunders' because the polis is artificial, devised by a legislator/founder and imposed on a people. We defend Aristotle's claims by showing, first, how Aristotle's claim that man is by nature an animal possessing logos -- speech/reason -- grounds his account of the natural development of the polis out of the earliest (...) partnerships (which the critics concede are natural); second, that the person who first brought people together in a polis may well have done so without realizing the scope of his actions; and, finally, that the developmental process is clearly one of praxis (action), not poisis (making, the imposition of a form on matter). Aristotle's claims are evidenced by the Homeric hero Philoctetes, whom one critic takes to disprove Aristotle's theses. (shrink)

As an example of Aristophanic literary criticism the portrayal of Agathon in the prologue of theThesmophoriazusaehas been rather overshadowed by the poetry contest of theFrogs. This is largely because more can be said about parody when something substantial of the author parodied has survived.1Before many of the specific difficulties of the Agathon scenes we have no alternative but to confess our ⋯πορ⋯α.On the other hand, we need not despair of understanding the general point of these scenes, and in this the (...) most helpful method is that of identifying those Aristophanic techniques which shaped them. This method has already taken us a good way forward, so that there is no need now to argue for the structural integrity of these scenes2or their thematic relevance to the play.3Accordingly, in this paper I will discuss the portrayal of Agathon in relation to typical Aristophanic techniques. My main concern, however, will be with the significance of the different conceptions of literature raised in the course of the parody, Agathon being satirized in turn as an inspired poet, a craftsman poet and an effeminate poet. I hope to show that, for Aristophanes, Agathon's effeminacy is as much a reflection of his art as of his personality. (shrink)

It has long been theorized that Heidegger’s idea for Dasein was highly influenced by the Chinese notion of the Dao. This is due to a misinterpretation on behalf of Heideggerian scholars and others of what the Dao represents. In fact, Heidegger, in explicating what he thought to be “the most extreme inversion of φύσης-ουσία [phusis-ousia],” made this equal to “Chinese-like ‘constancy,’” which is the basis of the Dao. Taking what Heidegger interpreted phusis to be (derived from Aristotelian metaphysics and an (...) assumption of pre-Socratic thought) as a process of unconcealment from continuing re-concealment which signals a kind of “truth” of being [phusis], that which calls for constant presence is inauthentic Dasein, rather than authentic Dasein. In other words, Heidegger’s idea of what inauthentic Dasein calls for could be explained within Aristotle’s system as equal to aiming to replace phusis with the know-how of τέχνη [techne]. The Dao, as rightfully understood and utilized by the master craftsman and the Sage, is accessible, constant, and knowable. This could not be in more opposition to Heidegger’s notion of phusis. (shrink)

This paper aims to study the perception of color (representations, synesthesia, denominations, uses and classification) in specific writings such as recipe treatises written from 1520 to 1689. These treatises deal with the manufacture and stages of color in various objects (remedies, blushes and mainly gems). They reveals that color is not only an apparent surface but also a sensitive substance, in particular white and red colors. Although color is a principle of unity for diverse materials, it sometimes becomes contradictory when (...) it is associated with variable signified and signifiers, so that color also offers a play on naming: meaning is sometimes clear, sometimes obscure, and in any case mobile (azure, vermilion). The contemporary reader does not perceive color in the same way as the Renaissance craftsman. Finally, as a principle of classification, it shows an imbalance and hierarchy of colors which, while providing structure to recipes: it gives mainly a place of choice to red and its shades. (shrink)

Perhaps the most influential historian of science of the last century, Alexandre Koyré, famously argued that the icon of modern science, Galileo Galilei, was a Platonist who had hardly performed experiments. Koyré has been followed by other historians and philosophers of science. In addition, it is not difficult to find examples of Platonists in contemporary science, in particular in the physical sciences. A famous example is the icon of twenty century physics, Albert Einstein. This paper addresses two questions related to (...) the Platonism of modern physical science. The first is: How is Galileo’s Platonism compatible with the fact that he did perform experiments? The solution to this apparent paradox can be found in Plato’s late dialogue Timaeus. In the dialogue the world has been created by a divine craftsman according to an original plan. The task of the scientist is not primarily to describe the material world, but to reconstruct the original plan. This view has later been known as “God’s Eye View”. The second question is: If a God’s Eye View is unattainable, how is it possible to give a “rational reconstruction” of Galileo’s Platonism? The key-word is idealisation. It is further argued that idealisation is intimately related to technology. Technology is required to realize ideal experimental conditions, and the results are in its turn implemented in technology. The implication is that the quest for unity in science, based on physics as the basic science, should be replaced by the recognition of the diversity of the sciences. (shrink)

Scientific observation has led to the discovery of recurring patterns in nature. Symmetry is the property of an object showing regularity in parts on a plane or around an axis. There are several types of symmetries observed in the natural world and the most common are mirror symmetry, radial symmetry, and translational symmetry. Symmetries can be continuous or discrete. A discrete symmetry is a symmetry that describes non-continuous changes in an object. A continuous symmetry is a repetition of an object (...) an infinite number of times. A consequence of continuous symmetry is the existence of conservation laws. A natural system with discrete and continuous symmetries displays several physical properties, such as the existence of long-range order. Geometric shapes exhibit symmetry as mirror reflections of each other. Symmetry in nature has been a model of beauty since the beginning of civilization. Since the earliest times, nature itself has manifestly been a model, evincing regularity in sundry forms and occurrences–from minerals and plants to the anatomy of living beings, to the regularly recurring stellar constellations. For Ancient Greek philosophers, proportion, symmetry, and harmony, were the basics to determine whether something is beautiful or not. Ancient Greek philosophers were known for bringing logic and rational thinking to phenomena that were previously explained by mythology and Gods. They observed the natural world around them and used their knowledge to answer questions about the proportion in observable objects and the origin of Earth. The Greek words _summetria_ and _summetros_ appear frequently in the Timaeus, defined as parts with each other and with the whole. Plato has a very rough concept of symmetry, and when he uses “beauty” to characterize the so-called Platonic Solids in the Timaeus, he seems to be emphasizing their regularity and indirectly their symmetry. Plato believes the four elements (earth, air, fire, water) have been constructed by the Demiurge, or a divine craftsman who appoints order in an otherwise chaotic universe. Minerals are representative examples of beauty, order, and symmetry in inorganic materials. Well-formed minerals (crystals) are a collection of equivalent faces related by symmetry. The goal of this paper is to relate the perspective of symmetry in ancient Greek philosophy with the modern scientific evidence of the geometric description of crystal structures. The five Platonic solids are ideal models of geometrical patterns that occur throughout the world of minerals. In this paper, minerals serve as a model of connecting the symmetry theory in Plato’s philosophy and modern advances in mineralogy. (shrink)

In the sixth mime of Herodas is described a visit by a woman called Metro to her friend Coritto. After an introduction largely taken up with abuse of Coritto's slave, Metro comes to the point: she asks, . Coritto is furious that knowledge of this precious possession has spread so far, and without answering the question asks where Coritto saw it: the reply is, . Coritto laments the faithlessness of those she thought her friends, but is consoled by Metro, who (...) repeats her question. Coritto now reveals that the craftsman was Cerdon, and describes him and his works: and she was prevented from this last only by the presence of a neighbour's slave. Metro now asks how Coritto got to know Cerdon, and on hearing that it was through Artemeis, she declares her intention of going to see her, to learn more of Cerdon, and departs . The poem ends with Coritto giving orders for the door to be closed and the hens counted. (shrink)

Disputes about the “uniqueness” of one’s era in comparison with the achievements of previous ones have always been a “cornerstone” in the perception of past concepts regarding the values of the achievements of predecessors. However, at one time, Confucius said his world-famous phrase that if you don’t look back, there is no way forward. But many people are not interested in their past. That is why the “Querelle des Anciens et des Modernes” in the form of a literary debate, centered (...) on a comparison of the value of the contributions of ancient authors and French authors of the 17th century, and which was widespread at the time, is still relevant today. The purpose and objectives of the article. The purpose of the article is to highlight the perception of the values of previous eras in the paradigms of “non-contemporary” prominent philosophers and writers. The tasks of the article are to reveal the reasons for the primordial disputes about “ancient and new”, a natural return to ancient literature and ancient philosophy. Research methodology. The leading research methods were: content-comparative - to analyze the reliability of judgments of French writers of the 17th century; retrospective, which helps to investigate the phenomenon of the value of “the ancient in the new” in the century-old controversy, the method of personalization, which ensures the study and understanding of the works of S. Perrault and his contemporaries. The results. It’s no secret that the tasks of art in the Antiquity, Middle Ages and Modern times differed greatly. For Antiquity, every craftsman was an artist, while the activity of a painter and sculptor was a more complex craft. It is typical for that time that there was almost no idea about creativity and the creative act, but despite this, the ancient Greeks were able to create immortal examples of art. The art of the Middle Ages was supposed to embody a moralistic character and remind of the eternal, the art of romanticism saw godlike creativity as its goal. The art of the 20th century presented its ideal in the denial of everything that the previous era saw as its goal, periodically declaring the death of art. Based on the fact that today there are many different ideas about the goals and tasks of modern art, we cannot say with full confidence what is the common goal of the art of our days, and it is even more difficult for us to imagine how art will live, for example, through a hundred years. Conclusions. So, we can come to the conclusion that in the era of the early Enlightenment, the attitude to the ancient heritage, in particular in France and England, was not unambiguous even among the educated aristocracy or university professors who knew Greco-Roman works well enough. This is clearly evidenced by the century-old dispute “about ancient and new”, which caused a lot of auxiliary discussions. Undoubtedly, even today arguing and debating about the art of previous eras and our own has a place in philosophy and literature, and they continue to do this with success for more than one hundred years. But to prove the rightness of one of the sides of these disputes is a sufficiently dubious matter for science. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS Search for the Absent God: Tradition and Modernity in Religious Understanding. By WILLIAM J. HILL, O.P., MARY CATHERINE HILKERT, 0.P., ed. New York: Crossroad, 1992. Pp. 224. $27.50 (cloth). In presenting the fruit of a lifetime of exploration on the part of this theological craftsman of the highest merit, the editor has performed an unparalleled service. For William Hill is a clear and courageous thinker, and (...) one whose selfless editorial duties have perhaps curtailed his own writing over the years. Yet these essays make up for that, and afford younger students of theology a starting point for their reflections beyond the fads of the moment, yet seizing the challenge of contemporary proposals. His grasp of classical and of modern idiom, together with his range of reading, make him a theologians' theologian par excellence. For with his classical mentors he is concerned with conceptual coherence, yet equally anxious to respond to the anthropological perspectives of contemporary theological inquiry. Briefly characterized, the work brings Thomas Aquinas into dialogue with Heidegger and with Whitehead, using each of the latter figures to challenge an earlier " Thomistic" synthesis of the thought of Thomas Aquinas, and highlight dimensions of his theology hitherto left quite implicit. This creative recovery of medieval thought begins with an established interpretation of Aquinas's metaphysical transformation of the neoplatonized Aristotle of Avicenna: his insistence that esse {existing ) precedes essence (or possibility). The identification of God as that One in whom essence and existing are identical sets the stage for Hill's explicitly theological treatment of free persons, by analogy with the " persons " of the divine triunity: " each divine person ' posits ' the others as over and against himself and thereby posits himself in his hypostatic identity. What all this bases itself upon is the understanding that the Christian revelation of freedom as radically constituting personhood enables it to function as a category which surmounts the Greek dichotomizing of reality into contingency and necessity " (117). If the identification of existing with essence in God confronts Heidegger's critique of " ontology," Hill's use of classical trinitarian thought to suggest a fruitful distinction in human creatures between nature and freedom allows him at once to correct the caricature of Aquinas proffered by process theologians as "classical theism," and 521 522 BOOK REVIEWS also to profit by their criticisms of the use of hellenistic categories like impassibility in divinity. "The key... lies in the mystery of freedom. Abstractly, freedom is a property of nature, but its exercise is the pre· rogative of person as the existential instantiation of nature. The person viewed ontologically (as subject of the act of existing) thus determines itself though its nature to be the sort of person it is, viewed psychologi· cally and historically" (127). Finite natures need to negotiate all sorts of causal influences in effecting such a determination of themselves; not so " an infinite nature whose freedom is transcendent." Yet when that One freely determines itself to be source and goal of all, and espe· cially of rational creatures (cf. Summa Theologiae 1.2 Prol.), then " that choice is one of willing to be constituted, personally and so relationally, and in this sense to be determined, by other free beings" (127). So the God who (in Aquinas' idiom) is not "really related" to the world in the sense of enduring (in Hill's words) "passive influx," nonetheless freely relates to intentional creatures in such a way as to be responsive to their freedom. So his response to Moltmann's conten· tion that God suffers " in his very deity " is an explicitly Christological one: "first, that God remains immutable and impassible in his own intrinsic godhead, so that his genuine love for creatures cannot entail suffering within divinity as such; but second, that God does choose to enter personally and relationally into the heart of humankind's suffering in his transcendentally free and loving response to it. God truly suffers... in and through his humanity which is one with the humanity of all men and women" (162). If this resolution sounds "classical," it is, both in its concern for conceptual coherence and for bringing out the radical implications of doctrines like that of Chalcedon... (shrink)

The recent discovery of a manuscript has allowed historians to understand the medical routine in a hospital known as the Schneidhaus in Augsburg between the sixteenth and nineteenth century. The context of the manuscript shows that at this institution, non-academic specialists, generally members of the guild of barber-surgeons and barbers, routinely performed surgical cures of intestinal hernia, scrotal swellings, and vesical calculus. The Schneidhaus exclusively admitted patients applying for such specialised treatments and offered no other services. Such a degree of (...) specialisation within medical establishments seems to have only existed in the Holy Roman Empire at this institution founded by the Fugger family in Augsburg. We propose that the Schneidhaus was either itself a model hospital or adopted a model from another site in Europe. In this paper, we investigate the connections of the Schneidhaus to the practice of surgeons in both Italy and Spain. In Italy, a momentous new technique for identifying and removing vesical calculi was first published in 1522. Although surgical treatment was established in Italian hospitals, they tended not to specialise in such surgical treatment exclusively. Moreover, at the time of the hospital’s foundation, the Fugger shifted their economic and social focus from Venice to the Iberian Peninsula. In Spain, research in the history of medicine is complicated by outdated notions about specialised surgery, not unlike those that were recently still current regarding the Holy Roman Empire. We attempt to disprove these notions and use the exemplary textbook of one academic physician, Francisco Díaz, to approach specialized surgical practice in sixteenth-century Spain. In his work, Díaz describes the new Italian surgical method in detail and recognizes the importance of craftsman surgeons to both its development and application. However, he also argues for an expanded role for academic physicians as supervisors of craftsman surgeons’ work. All this is suggestive of a greater network of surgical professionals within which both the methods of the craft and its organisational structures were transported. As such, the Schneidhaus can be seen as a node that embodied the institutionalization of surgical practice as a European phenomenon. Further research is necessary, and we propose how this might be carried out to reveal these historical phenomena in their full complexity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"ALL EXISTING IS THE ACTION OF GOD": THE PHILOSOPHICAL THEOLOGY OF DAVID BRAINE DAVID BRADSHAW University ofTexas at Austin Austin, Texas Thou lovest all the things that are, and abhorrest nothing which thou hast made: for never wouldest thou have made any thing, if thou hadst hated il And how could any thing have endured, if it had not been thy will? or been preserved, if not called by (...) thee? But thou sparest all: for they are thine, 0 Lord, thou lover of souls. Wisdom 11:24-26 He is not far from every one of us; for in Him we live, and move, and have our being. Acts 17:27-28 I T HAS long been traditional to regard God as upholding all things in existence. This belief is known as the doctrine of continuous creation; it is a doctrine widely shared by Jews, Christians, and Moslems, and was first clearly articulated by St. Augustine.1 The phrase "continuous creation" can be misleading, for there is more to the doctrine than simply the extension of God's creative act through time. If that were all that is at stake, we would not need to revise our ordinary notion of the creator as craftsman or artist; we might think of God as like a painter who 1 Augustine, De Genesi ad Litteram iv.12. The history of the development of this doctrine has yet to be written, but important sources include Timaeus 4lab; Philo of Alexandria, De Providentia i.7; Colossians 1:17, Hebrews 1:3; John of Damascus, De Fide Orthodoxa i.3; Aquinas, Summa theologiae I, q. 104, a. 1. See also David Winston, Philo of Alexandria (New York: Paulist Press, 1981), 14-17; G. L. Prestige, God in Patristic Thought (London: S.P.C.K., 1964), 31-36; Richard Sorabji, Time, Creation,-and the Continuum (Ithaca: Cornell, 1983), 303-304. 379 380 DAVID BRADSHAW never stops adding new scenes, or a writer continually elaborating his story. That picture will not do. Ifthe painter were to cease painting, what he has made up to that point would remain in existence, whereas it is precisely the ability to stand on its own that the doctrine of continuous creation seeks to deny of what is made. Nor does anything in the relation of artisan to artifact properly convey the special intimacy and presence that the act of continuous creation is supposed to establish between God and creatures. A painting or a story does not "live and move and have its being" in the one who fashions it-nor would even a living and thinking creature, if the manner of its making were solely that of an artisan. These shortcomings raise the question of whether we should seek to replace the image of artisan and artifact with one that is more dynamic. We might think of God as like a singer and of what is made as His song, or of God as like a dancer and of what is made as His dance. By envisioning the act of creation as a "doing" rather than a "making," analogies of this type more adequately indicate the continuing ontological dependence ofcreation on Creator. They also draw our attention to a mode of presence radically different from that of one body to another, the presence of an agent "within" his own actions. They may thus bring us closer to what St. Paul presumably has in mind in the passage quoted from Acts. On the other hand, they have faults of their own, for they are hard to reconcile with creaturely freedom and the reality of secondary causation. How could any kind of "doing" act contrary to the will of its doer? Indeed, how could it act at all? Actions are not causal agents; a song does not act in its own right, but is at best an instrument of the one who sings it. So it would seem that, taken to their logical conclusion, analogies such as that of the singer and his song lead to the denial of both creatures' freedom and their causal efficacy. There have been thinkers in each of the religious traditions mentioned who have been willing to accept these... (shrink)

Context: The idea for this article sprang from a desire to revive a conversation with the late Ernst von Glasersfeld on the heuristic function - and epistemological status - of forms of ideations that resist linguistic or empirical scrutiny. A close look into the uses of humor seemed a thread worth pursuing, albeit tenuous, to further explore some of the controversies surrounding the evocative power of the imaginal and other oblique forms of knowing characteristic of creative individuals. Problem: People generally (...) respond to humor, i.e., they are inclined to smile at things they find funny. People like to crack jokes, make puns, and, starting at age two, human infants engage in pretense or fantasy play. Research on creativity, on the other hand, has mostly scorned the trickster within. Cognitivists in particular are quick to relegate wit, whimsy, and even playfulness to the ranks of artful or poetic frivolities. Method: We use the emblems of the craftsman, the trickster, and the poet to highlight some of the oblique ways of knowing by which creative thinkers bring forth new insights. Each epitomizes dimensions intrinsic to the art of “possibilizing.” Taken together, they help us better understand what it means to be playful beyond curious, rigorous beyond reasonable, and why this should matter, even to constructivists! Results: The musings characteristic of creative individuals speak to intelligent beings’ ability to use glitches intentionally or serendipitously as a means to open up possibilities; to hold on to a thought before spelling it out; and to resist treating words or images as conventional and arbitrary signs regardless of their evocative power. To fall into nominalism, Bachelard insisted, is a poet’s nightmare! Implications: Psyche is image, said Jung, and when we feel alive we rely on the imaginal to guide our reason. Note that image is not here to be understood as a picture in the head or a photographic snapshot of the world. The imaginal does not represent, it brings forth what we understand beyond words. It does not lock us into a single mode. Instead, it is a call to be mindful, in Ellen Langer’s sense: in the present, mentally alert, and on the outlook for our psyche’s own surprising wisdom (sagacity. Constructivist content: Debates on the heuristic function and epistemological status of oblique ways of knowing have long occupied constructivist scholars. I can only guess whether my uses of Jung’s imaginal or Bachelard’s anti-nominalism would have amused or exasperated Ernst! I do know that, on occasion, Ernst the connoisseur, bricoleur, and translator allowed the rationalist-within to include the poet’s power to evoke as a legitimate form of rationality. He himself has written about oblique knowing as legit! (shrink)