Analyzing how Plotinus’ critical reception of the Aristotelian, Stoic and Middle-Platonist notions of 'that which depends on us' lead him to a highly original interpretation of the notion, this book shows the central role of this notion in the Plotinian account of human agency.

L’article analyse la solution au problème du destin chez Plotin en Enn., III. 1 [3], identifiant ses sources platoniciennes principales et ses affinités avec la théorie médioplatonicienne « standard ». Bien que fidèle à certains éléments de cette dernière, Plotin suit aussi une autre voie de réception des intuitions platoniciennes, que l’on trouve notamment dans le Didaskalikos, chap. 2. Pour Plotin, les actions vertueuses des sages dépendent entièrement d’eux. Les actions des autres, normalement, ne dépendent pas d’eux mais des causes (...) externes, ce qui signifie « agir selon le destin ».Sur la conception plotinienne du destin dans le traité 3The article analyzes Plotinus’ solution to the problem of fate in Enn., III. 1 [3], its key Platonic sources, and its similarities to the common Middle-Platonist theory. While picking up certain elements of the latter, Plotinus also follows another line of reception of Platonic intuitions, as found notably in Didascalicus, chap. 2. For Plotinus, the virtuous actions of the sages depend entirely on them, while the actions of others normally do not depend on them, but rather on external causes, and this is what it means to act in accordance with fate. (shrink)

The aim of this study was to understand how mothers experienced midwives' uncaring behaviour and actions during birth. Sixty-seven first-time mothers took part in the study, in which data were collected through interview. The interview text was analysed using hermeneutic text analysis. Nearly half of the mothers interviewed (n = 32) said that midwives did not care for them. The findings show that midwives' behaviour was humiliating when they ignored mothers and held them in contempt. The mothers felt further humiliated (...) when the midwives did not believe them, treated their bodies in a careless manner and tended to put blame on them. Through their behaviour and actions, some midwives have shown that they no longer have a caring attitude as an element of their professional practice and that they have ignored ethics by offending mothers' sense of dignity. (shrink)

In the paper we investigate the topos of sheaves on a category of ultrafilters. The category is described with the help of the Rudin-Keisler ordering of ultrafilters. It is shown that the topos is Boolean and two-valued and that the axiom of choice does not hold in it. We prove that the internal logic in the topos does not coincide with that in any of the ultrapowers. We also show that internal set theory, an axiomatic nonstandard set theory, can be (...) modeled in the topos. (shrink)

Moerdijk has introduced a topos of sheaves on a category of filters. Following his suggestion, we prove that its double negation subtopos is the topos of sheaves on the subcategory of ultrafilters - the ultrasheaves. We then use this result to establish a double negation translation of results between the topos of ultrasheaves and the topos on filters.

The aim was to investigate the relationships between landscape-related personal and collective identity and well-being of residents living in a Swedish mountain county ( N = 850). It was shown that their most valued mountain activities were viewing and experiencing nature and landscape, outdoor recreation, rest and leisure, and socializing with friends/family. Qualitative analyses showed that the most valued aspects of the sites were landscape and outdoor restoration for personal favorite sites, and tourism and alpine for collective favorite sites. According (...) to quantitative analyses the stronger the attachment/closeness/belonging (emotional component of place identity) residents felt to favorite personal and collective sites the more well-being they perceived when visiting these places. Similarly, the more remembrance, thinking and mental travel (cognitive component of place identity) residents directed to these sites the more well-being they perceived in these places. In both types of sites well-being was more strongly predicted by emotional than cognitive component of place-identity. All this indicates the importance of person-place bonds in beneficial experiences of the outdoors, over and above simply being in outdoor environments. (shrink)

We might wonder whether there is a difference between experiencing an artwork and simply daydreaming. If the latter, would it be a matter of art communicating something or simply providing a backdrop for personal reverie? According to some influential key texts in philosophy, there is a difference. And it matters because our capacity for communicating the kind of thing art communicates, is a capacity linked to the possibility of not feeling alienated from the world and each other. In this chapter (...) we focus on The weather project, which was a site specific installation Olafur Eliasson created at the Tate Modern in 2003. And to consider how this artwork communicates, we adopt a key concept from Immanuel Kant’s aesthetic theory: “aesthetic ideas”. (shrink)

Résumé L’une des théories les plus répandues concernant le rapport de l’art à l’éthique s’appelle parfois la Vicarious Experience Theory. Cette approche basée sur la notion d’une expérience par procuration va toutefois avoir du mal à expliquer la valeur (morale ou autre) de tout art « abstrait », non figuratif et/ou non narratif. Il faudrait alors démontrer que l’art (abstrait ou pas) provoque également une expérience directe – et non pas uniquement une expérience par procuration – et que cette expérience (...) directe est toujours déjà « métaéthique ». Cet effet méta-éthique serait inscrit au sein d’une définition (pragmatiste, pluraliste et institutionnelle) de l’art dans son ensemble, alors que la théorie de l’expérience par procuration s’appliquerait uniquement à quelques arts. Je compte défendre cette thèse par un examen des écrits et des pratiques d’Olafur Eliasson. (shrink)

AbstractThe sculptor Olafur Eliasson produces works together with his team that have two main goals: first, he intends to sensitize our daily perception of the world and our surroundings, and second, Eliasson’s works are not only works of art, but they also explore nature, the physical properties of light, of energy, of water, and other elements. With the famous project Little Suns, small plastic lamps with LED light bulbs and solar cells, he contributes to the amelioration of daily (...) life for those who do not have access to electricity even today. In other works he focuses on elementary phenomena such as the movement of elements in a vortex of water or air, on the properties of light, of mirrored light, or the fascinating world of kaleidoscopes. Some of these works are very popular and often include visitors such as the Weather Project in the Turbine Hall of the Tate Modern in London created in 2003. This work is said to have provoked spontaneous meetings, celebrations, and even episodes of civil protest. The work turned the museum into a kind of agora, the public square in Ancient Greek cities that was at the heart of daily life, of politics, of democratic practices. (shrink)

Installation art is one of the most important and provocative developments in the visual arts during the last half century and has become a key focus of artists and of contemporary museums. It is also seen as particularly challenging or even disliked by many viewers, and—due to its unique in situ, immersive setting—is equally regarded as difficult or even beyond the grasp of present methods in empirical aesthetic psychology. In this paper, we introduce an exploratory study with installation art, utilizing (...) a collection of techniques to capture the eclectic, the embodied, and often the emotionally-charged viewing experience. We present results from an investigation of two pieces, both part of Olafur Eliasson’s exhibition “Baroque, Baroque” held at the Belvedere museum in Vienna. These were assessed by pre- and post-viewing questionnaires focusing on emotion, meaning-making, and appraisals, in tandem with mobile eye tracking to consider viewers’ attention to both installed artworks and/or to the museum environment. The data showed differences in participants’ emotional states, appraisals, and visual exploration, which together paint a picture of the aesthetic reactions to the works. These differences also showed how viewers’ appraisal strategies, meaning making, and physical actions facilitated relatively more or less deep engagement with, and enjoyment of, the art. The results are discussed in terms of their implications for museum studies, art education, and theory in empirical aesthetics. (shrink)

Aesthetic autonomy is sometimes equated with an art for art’s sake approach to art. On the contrary, the philosophers whose work is often cited as backup to this concept of aesthetic autonomy held a very different conception of it. I will trace an alternative notion of aesthetic autonomy in the work of Adorno and Habermas, the origins of which can be found in Immanuel Kant’s aesthetic theory, the popular notion of his formalism, notwithstanding. I draw upon the art practice of (...) the contemporary Icelandic-Danish artist Olafur Eliasson in order to demonstrate this alternative notion of aesthetic autonomy. (shrink)

Antony Gormley's Another Place and Olafur Eliasson's Your watercolour machine exemplify passages and combinations of smooth and striated space as beings of sensation on planes of technical and aesthetic composition. They are frames which striate the smoothness of light, water, molten iron, etc., using scientific planes of reference. Smooth and striated mix as boundaries between visitors’ bodies and installation become permeable. Optic becomes tactile, becomes haptic, generative engagement. Both artists experiment with the interface between striated and smooth to encourage (...) visitors to experiment and experience sensation. The installations are liquid spaces; forms of perpetual non-permanence which affect and react with others’ behaviours in processes of co-emergence. (shrink)

E. J. Lowe; One-level versus two-level identity criteria, Analysis, Volume 51, Issue 4, 1 October 1991, Pages 192–194, https://doi.org/10.1093/analys/51.4.192.

David E. Cooper; I*—The Presidential Address: Analytical and Continental Philosophy, Proceedings of the Aristotelian Society, Volume 94, Issue 1, 1 June 1994, P.

E. J. Lowe; Indicative and counterfactual conditionals, Analysis, Volume 39, Issue 3, 1 June 1979, Pages 139–141, https://doi.org/10.1093/analys/39.3.139.

L’exercice artistique suppose un rapport au temps spécifique : l’homme s’exerçant à son art répète, reprend, corrige ses gestes. Mais en va-t-il de même concernant la réception des œuvres : la perception du spectateur s’exerce-t-elle par répétition et variation des expériences esthétiques? L’objet de cet article est de montrer qu’il existe un type d’exercice dont le mécanisme repose plutôt sur la déstabilisation des habitudes de perception. À partir des réflexions valéryennes sur l’informe dans l’Introduction à la méthode de Léonard de (...) Vinci et Degas, Danse, Dessin, nous proposons de penser un exercice de la perception qui passe par la décomposition de ses mécanismes. Cette idée trouve sa réalisation dans des dispositifs artistiques labyrinthiques tels que l’exposition Contact d’Olafur Eliasson (Fondation Louis Vuitton, 2014-2015) qui, en perturbant les échelles d’espace et de temps, oblige le récepteur à produire consciemment le travail de cohérence de la synthèse perceptive. (shrink)

Durkheim écrit ce livre avec un but double : d'abord il voulait expliquer ce qui crée une société, ce qui la tient ensemble ; ensuite il voulait éclaircir l'influence qu'a la société sur la pensée logique. Pour Durkheim, la religion est la clé utilisée pour déverrouiller ces deux problématiques.Dans ce livre, Durkheim argumente que les représentations religieuses sont en fait des représentations collectives : l'essence du religieux ne peut être que le sacré. Il est une caractéristique qui se trouve universellement (...) dans toutes les religions. Le sacré, être collectif et impersonnel, représente ainsi la société elle-même. Ensuite il argumente que la société a un impact majeur dans la genèse de la pensée logique. C'est la société qui fournit à l'individu les catégories (le temps, l'espace, le nombre etc.) et les concepts nécessaires pour la pensée logique. (shrink)

É bem conhecida a oposição estabelecida por Kant entre experiência possível e dialética, na medida em que esta última é caracterizada como a “lógica da ilusão”. Ao mesmo tempo, o modo de pensar metafísico, que ocorre dialeticamente, em sentido kantiano, é uma tendência inevitável da razão, expressa na exigência formal de completude das categorias. Como o pensar, enquanto exercício livre da razão, é em si mesmo mais amplo do que a atividade de conhecer, própria do entendimento, o pensar contém o (...) conhecimento, embora este se qualifique pelas regras e pelos limites determinantes da objetividade. A pergunta que tentaremos formular é se essa relação continente-conteúdo não poderia configurar também uma dependência da experiência em relação ao raciocínio dialético, que estaria de algum modo indicada na função reguladora das idéias da razão. Nesse caso, a oposição formal entre conhecer e pensar seria inseparável da inclusão estrutural (dependência) da experiência no âmbito da razão. Na raiz do problema estaria talvez a tensão (dialética) entre a aspiração subjetiva de totalidade e as exigências objetivas de limitação e segmentação da experiência e a forma da experiência teria de ser finalmente concebida a partir de um fundo de inteligibilidade problemática. Dialectics and experienceThe separation of possible experience as objective knowledge and dialetics as a non-objective or non-theoretical knowledge is one of the most important aspects of kantian critical philosophy. But Kant also says that the activity of reason, as a pure thinking, has more amplitude than understanding knowledge. So we could say that theoric knowledge would depend on rational ( and non-theoretical) knowledge, as something contained in it. If we accept that, the consequence would be a relation of dependence between the form of objective knowledge and the background of a problematic – even doubtful – inteligible knowledge. (shrink)

gl. 1. Ėkofilosofii︠a︡ kak zhiznesokhrani︠a︡i︠u︡shchiĭ kulʹturnyĭ proekt -- gl. 2. Obrazy kulʹtury mira v istoriko-personologicheskom izmerenii -- gl. 3. Borʹba za mir v sovremennom mire : opyt, kont︠s︡ept︠s︡ii, modeli resheniĭ.

Em artigo inédito, Franklin Leopoldo e Silva desenvolve os sentidos da memória na produção da identidade, destacando as relações significativas do presente com o passado e o futuro na construção da história. Desse ponto, o autor acentua o papel das instituições nesse processo – um processo de exercício de poder, no qual se tem, na verdade, a institucionalização do poder – e, dentre elas, em particular a instituição universitária.

O presente artigo visa analisar, a partir do pensamento do filósofo Michel Foucault, o exercício da liberdade sob uma perspectiva ética, no âmbito do estoicismo tardio. Liberdade essa que se faz possível a partir do cuidado de si, por meio de exercícios regulares que possibilitam ao indivíduo viver a vida como arte. Com efeito, é na prática do cuidado de si, que o indivíduo se coloca como transformador do mundo e de si mesmo, o qual dá-se no encontro com o (...) outro, longe de ser uma experiência solitária com o próprio eu, realiza-se na associação com outrem. (shrink)

Neste livro Gombrich discute as idéias e as posturas específicas que tiveram influência decisiva na prática da arte renascentista. Todos os estudos aqui reunidos tratam de algo a que se pode chamar clima renascentista de opiniões sobre a arte, além da influência desse clima sobre a prática e a crítica da arte.

Alfred Edward Housman (1859–1936), ki je kasneje postal angleški pesnik in eden največjih filologov svojega časa, je svoj zafrkantski »fragment« objavil pri triindvajsetih, leta 1883, v reviji Bromsgrovian. Revijo je izdajala Bromsgrove School, kjer se je šolal kot najstnik (1870–77); na šolo, ki je prva prepoznala njegov jezikovni in pesniški talent, se je za kratek čas (1881–82) vrnil kot pomožni učitelj po ne­pričakovanem študijskem porazu na Oxfordu. Kot ugotavlja Ralph Marcellino, ni naključje, da besedilo paro­dira predvsem Ajshila, ki je bil (...) Housmanov najljubši pesnik. V njem odzvanja Oresteja, zlasti drami Agamemnon in Prinašalke pitnih darov, verjetno zato, ker so ju dijaki na šoli, kjer je poučeval, pri pouku največ brali. Prav ta ciljna publika je znala ceniti norčevanje iz retoričnih figur ter sintaktičnih konstrukcij, ki jim jih je njihov pomožni učitelj vbijal v glavo. (shrink)

Wittgenstein’s concepts shed light on the phenomenon of schizophrenia in at least three different ways: with a view to empathy, scientific explanation, or philosophical clarification. I consider two different “positive” wittgensteinian accounts―Campbell’s idea that delusions involve a mechanism of which different framework propositions are parts, Sass’ proposal that the schizophrenic patient can be described as a solipsist, and a Rhodes’ and Gipp’s account, where epistemic aspects of schizophrenia are explained as failures in the ordinary background of certainties. I argue that (...) none of them amounts to empathic-phenomenological understanding, but they provide examples of how philosophical concepts can contribute to scientific explanation, and to philosophical clarification respectively. (shrink)

Los recientes desarrollos de la inteligencia artificial generativa suponen desafíos a conceptos tradicionales del Derecho, uno de ellos es el de autoría. El problema que aborda este trabajo es cómo concebir la autoría de una obra escrita por una inteligencia artificial generativa en la que la intervención humana, en cuestiones de estilo y contenido, es nula o mínima. Para ello se enumeran casos recientes en los que se plantea ese problema a partir de artículos escritos empleando ese tipo de tecnología. (...) Pero el objetivo del trabajo es la revisión de la concepción de autoría que subyace a las normativas internacionales que regulan la propiedad intelectual y los presupuestos éticos que las justifican (la concepción de Locke, la concepción romántica y la concepción utilitarista). Sobre la base de una lectura de “¿Qué es un autor?” de Michel Foucault se sostiene que la noción de autoría cumple una función social que, al menos al estado del arte de la inteligencia artificial generativa, esta no puede cumplir y, por tanto, no debe ser reconocida como autora de las obras mencionadas. Concluyendo que las obras literarias elaboradas por inteligencia artificial generativa multipropósito con nula o escasa intervención humana deben ser consideradas como obras de dominio público. (shrink)

O objetivo deste texto é explorar aproximações e divergências no pensamento de Paulo Freire e Ivan Illich na forma como eles vêem a relação entre educação e transformação social. Acredita-se que a retomada da polêmica Freire e Illich sobre o problema educação e transformação social pode contribuir para melhor compreender e esclarecer a verdadeira natureza desse problema, já clássico na história da educação moderna.

Let X be any infinite, coinfinite r.e. set. We show that the index set $\{e: W_e \equiv_1 X\}$ is Σ 0 3 -complete, answering a question posed by Odifreddi in [2].