In this volume, Geoffrey Madell develops a revised account of the self, making a compelling case for why the "simple" or "anti-criterial" view of personal identity warrants a robust defense. Madell critiques recent discussions of the self for focusing on features which are common to all selves, and which therefore fail to capture the uniqueness of each self. In establishing his own view of personal identity, Madell proposes that there is always a gap between ‘A is f and g’ and (...) ‘ I am f and g’ ; , that a complete description of the world offered without recourse to indexicals will fail to account for the contingent truth that I am one of the persons described; and , that an account of conscious perspectives on the world must take into account what it means for an apparently arbitrary one of these perspectives to be mine . Engaging with contemporary positions on the first person, embodiment, psychological continuity, and other ongoing arguments, Madell contends that there can be no such thing as a criterion of personal identity through time, that no bodily or psychological continuity approach to the issue can succeed, and that personal identity through time must be absolute, not a matter of degree. Madell’s view that the nature of the self is substantively different from that of objects in the world will generate significant discussion and debate among philosophers of mind. (shrink)

Nowadays, in the face of the breakdown of established social, ideological, economic and political relations, the family is, in essence, the only self-regulating structural unit. It, to a certain extent, models and reproduces practically all spheres of life, social relations and functions of society, is a natural social form of preservation, processing and transmission of original ethno-cultural information, embodied in family culture, national archetype, ritual and folklore. The family shapes the inner world of the individual, determines the structure (...) of his perception. (shrink)

Conventionalists about modality deny that the world has a modal structure. Metaphysical necessity is not a real feature of the world, but a linguistic necessity grounded in conventions governing our use of words. In this paper, I focus on Allan Sidelle’s conventionalist account and especially on his claim that the idea of real necessity should be abandoned since it is puzzling. My strategy for the defense of the realist notion of modality is twofold. First, the ontology of undifferentiated (...) stuff, which underlies his conventionalist account, is itself very puzzling and in need of further defense. Second, the alleged problems of the realist interpretation are based on an empiricist view of the world. (shrink)

This is a powerful and learned meditation on Christianity by a senior Irish theologian, and the main reason it should be noticed in a journal of philosophy is that James Mackey conceives theology as fundamentally philosophical in the way it reflects on and develops our ideas about the sources and nature of being and conduct as they have been articulated in myth, symbol and poetry, as well as more abstractly in metaphysics. On this view the philosophical aspect of theology is (...) displayed no less in the scrutiny and interpretation of that myth, symbol and poetry than in the more narrowly focussed field of natural theology as this has come to be practised by recent analytic philosophers—a field, indeed, which might well be thought, on the evidence of this book, to depend upon and be undermined by an uncritical reception of discredited readings of the imagery of the creation myth . It is appropriate—and something of a relief—that in his nuanced and compelling reflections on that myth Mackey's philosophical temper leads him to stress the importance of the creative imagination, particularly that of the poet, who is ‘the seer, the prophet, the visionary, who sees so deeply into the fabric of reality that the ways of the Creator with creation are revealed in the ensuing poetry, and with a power and a clarity seldom equalled in other forms’ . Indeed he opens his chapter on Creation by highlighting the importance of the metaphors and imagery which are to be his theme and by which myth is constituted and ‘reality’ mediated. He refers to them as ‘configurations through which reality first rewards the attentive, or more precisely the contemplative mind’ and remarks that at its outer limit ‘imagination … ends up by telling a cosmic story, resulting in nothing less than a cosmic myth’ . One important implication of this fertile approach is that it also requires engagement with a question about the nature of the relationship between myth and metaphysics: after all, some philosophers still incline to the view that metaphysics underwrites and validates what the poet ‘sees’. However, it provokes another question, which is at least as important, about the status of theism as itself perhaps ‘a cosmic myth’. What kind of ‘reality’ is revealed by the poet? Are ‘the ways of the Creator with his creation’ the reality whose nature is revealed by the poet? Or is it, rather, that ‘the ways of the Creator with his creation’ are part of a particular configuration of images by which the poets widen our perceptions and articulate their wonder at the world of creative forces in the form of story-telling, both mythopoeic and metaphysical. (shrink)

The present article deals with the subject of the doctrine of the Middle Platonist philosopher Numenius about the world souls, according to the testimony of Calcidius. At first, it is being investigated whether the theory presented by Calcidius is an exact reproduction of Numenius’ view or whether some elements have intruded into it, which reveal Calcidius’ view of the soul. Subsequently, the interpretations of the divisible and the indivisible essences of Timaeus – from which the world soul is (...) created – which have been given by Calcidius, Proclus and Numenius are compared. In addition, it is examined whether the source of Calcidius’ interpretation of Timaeus’ psychogony is Numenius or Plotinus. At the same time, the world souls are outlined more clearly according to the theory of Numenius. Finally, what was analyzed above is summarized and some conclusions are drawn, regarding the relationship between the views of Calcidius, Numenius and Plotinus on the universal and human soul, as well as the general character of the system of the last two philosophers. (shrink)

In the modern world of total technologization, scientific knowledge devoid of worldview correction (humanitarian expertise) carries a threatening tendency of self-denial: without a constant, philosophically correct transformation of objective knowledge about certain fragments (branches) of the surrounding reality into human knowledge (questions) about itself, the practical effectiveness of such knowledge inevitably accumulates in itself the threat of practical helplessness. Aim and the tasks of the research. Based on an in-depth analysis of the category of existence, as well as on (...) modern philosophical reflections on the methodological and cognitive insolvency of the idea of the world, to find out the real meaning of those changes that this idea meaningfully undergoes in the conditions of the modern total technologization of human life. The research methodology. From a methodological point of view, the author prefers a dialectical approach, considering the analyzed phenomena, regardless of the mode of their reality, in their development and internally contradictory essence. H. Plesner’s theory of eccentric positionality serves as a certain base point for the analysis of human nature and, accordingly, the world of human existence. Research results: The problematic existence of the world and the epistemological «failure» of the corresponding category, declared in some modern philosophical reflections, are connected exclusively with its anthropological and worldview function, which is based on the fundamental uncertainty of a man’s place in the world. The «worthlessness» («futility») of worldview thematization is derived from the allencompassing inability of the human figure in the world, from that «emptiness» and «invisibility» (specific own transparency) of the spiritual dimension of human existence, on which, however, this existence is based. Discussion. The human «option» of fulfilling the unity of living being can be characterized as extremely intense. In this variant, the phylogenetic line of development turns into an ontogenetic point of worldliness devoid of predetermined content, a fundamentally new type of integration. The horizons of such integration far exceed primarily because of its understanding. And the subject of such a meaningful life is forced to integrate everything that happens to him every time into a certain system (synthesis) of the world. That subjectivity the world has distinguishes the subject from the thing. Subjectivity and the world mutually belong to each other - they are correlative. A thing exists because it is what it is. The subject (and with it his world) does not exist like that. A subject is how and to what it relates. But the relation «how» and «to what» is not carried out completely anew and isolated every time, but exists in its multiplicity in a certain relationship. Each individual case, each individual action (method of action) acquires its meaning from a wider, structured context – in whole or in part. This context is the «world», the «life world» of the real subject, or the «world» as an anthropological idea. Conclusions. The task of modern humanitarianism is not only to find opportunities for rational use of the fact of the fundamental openness of the human being, but also to cultivate the ability to reconcile a man with himself, to accept himself. This gives us certain reasons to hope for the enduring significance of worldview thematization. Criticism regarding the seemingly paradoxical conclusion that to become a man, one must already be one, could be considered fair, but only if one does not take into account the principled nature of such an aphoristic position, because this is exactly how the human world exists - as the art of tolerance uncertainty. (shrink)

The end of the nineteenth century and the whole of the twentieth may justifiably be called a time of great discoveries in the micro-, macro-, and megaworlds. All bearing witness to the dynamic life of the universe, these discoveries have resulted primarily from progress in the instruments of research, leading to the discovery of many new elementary particles, new forms of interaction, fields, and astrophysical objects — quasars, pulsars, sources of X-ray emissions, and others. An understanding of the essence (...) of the processes involved in these objects and phenomena, however, comes up against certain difficulties , the overcoming of which is to be sought primarily along the lines of further improvement of the tools of research and processing of the information acquired, the application of existing theories and the development of new ones in physics and astrophysics, and the utilization of the achievements of the science of the most general laws of the motion and development of nature, society, and thought, i.e., dialectical materialism, as the general methodology of acquisition of scientific knowledge. (shrink)

In this article, the authors offer an original view on the development of the creation concepts in the Christian thought history. The article focuses on the importance of the cosmogony of Gnostic Christianity for the development of cosmogonic ideas in European philosophy. The cosmogony of the Gospel of Truth is interpreted as a serious philosophical alternative to the orthodox concept of the creation of the world from nothing and the neoplatonic concept of emanation. The authors point to the continuity (...) between the concept of creation in the texts of Gnostic Christianity and subsequent philosophical systems expressed in the texts of Origen, Evagrius of Pontus, Areopagitics, Meister Eckhart, Nicholas of Cusa, and others. Particular attention is paid to the understanding of the concept of “nothing” in the context of the development of cosmogonic systems. (shrink)

The essence of the method of physics is inseparably connected with the problem of interplay between local and global properties of the universe. In the present paper we discuss this interplay as it is present in three major departments of contemporary physics: general relativity, quantum mechanics and some attempts at quantizing gravity (especially geometrodynamics and its recent successors in the form of various pregeometry conceptions). It turns out that all big interpretative issues involved in this problem point towards the (...) necessity of changing from the standard space-time geometry to some radically new, most probably non-local, generalization. We argue that the recent noncommutative geometry offers attractive possibilities, and gives us a conceptual insight into its algebraic foundations. Noncommutative spaces are, in general, non-local, and their applications to physics, known at present, seem very promising. One would expect that beneath the Planck threshold there reigns a "noncommutative pregeometry", and only when crossing this threshold does the usual space-time geometry emerges. (shrink)

A collection of classic essays by two highly regarded scholars on the development of yoga and its rapport with other religious traditions. Georg Feuerstein, one of the world's foremost scholars of yoga, and Jeanine Miller, long recognized for her insightful commentaries on the RgVeda, here pool their considerable talents in a look at the development of yogic thought across the ages and its similarities with the Christian mysticism of Meister Eckhart. Two of their essays included here, one concerning the (...) essence of yoga and the other looking at the meaning of suffering in yoga, have long been singled out by indologists for correcting prevalent misconceptions and providing a conceptual framework for many of the subsequent studies in that field. The reprinting of these important essays in The Essence of Yoga gives new readers a chance to share some of the authors' earliest insights into yoga and their deep conviction that these discoveries are of the highest significance for a proper understanding of the human condition. (shrink)

Wilhelm Dilthey (1833-1911), the great German humanist, remained a towering figure in Europe long into the twentieth century. Published in 1954, this translation by Stephen A. Emery and William T. Emery was the first English translation of Dilthey's Das Wesen der Philosophie (1907) as well as his first work to be translated completely into English, making Dilthey accessible to scholars of the English-speaking world.

A groundbreaking classic of contemporary philosophy for the first time in English translation Between 1961 and 1970, Emanuele Severino was subjected to a thorough investigation by the Vatican Inquisition. The “fundamental incompatibility” identified between his thought and Christian doctrine ejected him from his position as Professor of Philosophy at the Catholic University in Milan. The Essence of Nihilism, published in 1972, was the first book to follow his expulsion, and it established Severino’s preeminent position within the the constellation of (...) contemporary philosophy. In this groundbreaking and classic book—now for the first time available in English—Severino reinterprets the history of Western philosophy as the unfolding of “the greatest folly,” that is, of the belief that “things come out of nothing and fall back into nothing.” According to Severino, such a typically Western understanding of reality has resulted in a conviction that there is a radical “nothingness” to existence. In turn, this justifies the treatment of the world as an object of exploitation, degradation and destruction. To move beyond Western nihilism, suggests Severino, we must first of all “return to Parmenides.” Joining forces with the most venerable of Greek philosophers, Severino confutes nihilism’s “path of night”, and develops a new philosophy grounded on the principle of the eternity of reality and of every single existent thing. (shrink)

This article reconstructs and defends Husserl's argument for the indubitability of the existence of the world as grounded in ultimate principles. Responding to criticisms about the feasibility of a Husserlian‐informed metaphysical cosmology, it offers a systematic account that explores the question of the world's existence at three distinct levels (factual‐empirical, eidetic, and transcendental), leading to a threefold characterization of the world. First, the obviousness of the world's existence serves as our point of departure. The analysis then (...) moves from a conception of the world as (i) an ontic factum and pregiven ground of all theoretical and practical endeavors in the natural attitude, to a priori ontological considerations of (ii) the essence of “world in general.” However, the insufficiency of both factual‐empirical and a priori investigations necessitates a further displacement of the analysis into the transcendental field of pure phenomena. In accordance with the fundamental principle of synthesis, the world is thus reconceived of as (iii) a phenomenological factum. In this context, the clarification of the existence of the world as both an irrational and a “rational” fact provides all the elements necessary to demonstrate the relative apodicticity and empirical indubitability of the world. This justifies our doxic certainty of the world's existence. (shrink)

The work of Hesiod, an ancient Greek epic poet, is considered, in particular, his poem “Theogony”, as one of the first cosmogonic constructions in European culture. Particular attention is drawn to the image and concept of Chaos – the initial state of the world, which also has a creative, creative essence. The primary instances that appear together with Chaos – Gaia, Tartarus and Eros also act as elements of the basic ontological model. The attitude of the ancient philosophical (...) tradition to the concept of Chaos, which was problematized even by the pre-Socratics and compared with the famous Orphic cosmologies, is analyzed. In this sense, the image of Chaos in Hesiod can be considered as the first principle of building the world by analogy with the search for arché in later philosophers, as well as in its abstract, idealized form – the initial theoretical model of being and the beginning of ancient ontology. Of particular interest in this sense is Chaos, a rather complex and mysterious reality that is primary in relation to others and, moreover, is itself a creative force. The problem can be formulated as follows: can Chaos in Hesiod’s poem be considered a mythological-poetic ontology, an analogue and prerequisite of the philosophical concept of being, or even a certain essence of the world, its eternal integral part. The task of the study is to describe a general approach to understanding Chaos in Hesiod’s poem as an ontological essential first principle, which serves as a prototype of the philosophical ontology of later philosophers. Chaos can be interpreted as the original state of being and as a reference system for all world coordinates and the ideal beginning of the world. The original, initial state of the world, as well as the origin of the latter, is a cross-cutting theme of ancient Greek philosophy and science. Already in the early theogony, in the Orphics and in Hesiod, we find a certain mythological-poetic and, at the same time, religious-philosophical model of the origin of the world and its first elements. It would be too bold to consider these rather fantastic images and constructions as a real philosophical or scientific theory, which already in the understanding of the ancient Greeks should have had clearly defined principles and a consistent logical structure. Nevertheless, already in the first attempts to describe the structure of the universe we see an attempt to find the beginning from which a kind of ontological intuition of ancient Greek philosophy begins and which will later lead to the emergence of the main philosophical schools. Moreover, this intuition allowed us to pose a question that is still the basis of ontological problems. Even a preliminary consideration of the historical-philosophical material demonstrates the possibility of various interpretations of the ontological constructions of early ancient cosmogonies. The vision of Chaos in Hesiod proposed here is the first step towards a hermeneutic reconstruction of the primary foundations of ancient Greek philosophy and its mythological and poetic origins. (shrink)

The main purpose of the paper is to justify the thesis that the presence of biological information is conditional for existence and persistence of life. We will begin with the notion of biological information. In this proposition information is identified with impact, and it is shown the dependence of its location and functioning on the level of organization of animate matter. In accordance with a suggestion of Thomas Aquinas, it seems that precisely information is the reason for the appearance of (...) socalled immanent activities where new life appears. (shrink)

Marcel Gauchet argues that whatever impulse previously gave rise to religion is now fully translated by the values of representative politics, empirical method, future orientation and productivity as an end in itself. The good and productive citizen replaces the dutiful Christian. His foundational thesis is twofold: (a) religion is the surrender of human autonomy to a power other than human beings, issuing in a hierarchical social structure thought to be given by nature; and (b), paradoxically, religion has at the same (...) time been the impulse to move away from religion. Christianity in particular is “the religion to exit from religion”, propelling society, particularly in the West, toward a disenchanted world-view, one that is non-supernaturalistic and implies non-hierarchical social arrangements. In recounting his argument, I conclude by agreeing with (b) but disagreeing with (a). I suggest that what Gauchet terms “religion” is better thought of in terms of Sartre’s concept of “bad faith”. In this project, Sartre’s – and Gauchet’s – concept of human freedom in terms of the power of “refusal” may well be complemented by the understanding of the person as empowered through interpersonal solidarity. I argue that this supplies a corrective to Gauchet’s interpretation of Christianity, and, further, is a reason to move away from his liberal idea of the state as neutral towards religions. As the secular and humanist re-articulation of religious traditions, the democratic state of its nature challenges rival interpretations of those traditions, whether fundamentalist or reductionist. (shrink)

To give oneself over to the essence of pain is to give oneself over to the world. Pain is a fact of the world and in accepting this fact, in entering that world, we break with the tradition of metaphysical subjectivity that dates back to the Greek determination of the human as zôon logon echon. For Heidegger, pain is the surest sign that we wholly belong to this world; in fact, pain is nothing other than (...) our contact with the world and our “openness” to it. In what follows I will first present those aspects of Heidegger's view of pain…. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one (...) of the themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

The article presents philosophical views on music in the context of the transformations of the worldview from Antiquity to the Modern Time. In this research author also mentions the contemporary issues, and uses her own philosophical concept of the music, which can be described as following: the value of music as a substance and the way of the valuable interaction of a person with the world affirm the essence of musical being, in which the invariable principle of Harmony, (...) the principle of Chaos-Form movement, is preserved. Music expresses the fluid essence of the world and changes of being in space and time. Philosophy of music as a field of philosophical knowledge considers music from ontological-epistemological and phenomenological-axiological prospectives, as something more than just a form of art. It explores the deep, ultimate foundations of the existence of music as such and the philosophical and aesthetic foundations of musical art. Since ancient times music has been a representation of the world in the human conscience and served as the harmonic equivalent of cosmological philosophy, mathematics, astronomy, and astrophysics. The scientific view on music was enriched in the Modern Time by the expanded view on the cosmo-sound space reflected in musical art, which at the same time transforms the mathematical ideas of geometricity, squareness etc. The tendency to create integral world music in the musical practice of the XX-XXI centuries explains the attempt of mankind to present music by modern methods of composing musical art as an expression of fear towards the secret Harmony of universal existence, and, on the other hand - as a form of search for salvation and mental balance, intuitively reflecting what is happening in natural science, which more and more points to the abyss of unknowable universe, and the unstable place of man in the world. (shrink)

Recently, Brian Ellis came up with a neat and novel idea about laws of nature, which at first I misunderstood. Then I participated, with Brian Ellis and Caroline Lierse, in writing a joint paper, “The World as One of a Kind: Natural Necessity and Laws of Nature” (Ellis, Bigelow and Lierse, forthcoming). In this paper, the Ellis idea was formulated in a different way from that in which I had originally interpreted it. Little weight was placed on possible worlds (...) or individual essences. Much weight rested on natural kinds. I thought Ellis to be suggesting that laws of nature attribute essential properties to one grand individual, The World. In fact, Ellis is hostile towards individual essences for any individuals at all, including The World. He is comfortable only with essential properties of kinds, rather than individuals. The Ellis conjecture was that laws of nature attribute essential properties to the natural kind of which the actual world is one (and presumably the only) member. (shrink)

Gilles Deleuze tells us that philosophical problems ‘compelled’ him to look to the cinema for answers, but he doesn’t tell us what those problems are. In this thesis I argue that the problems in question turn on the foundational role that Henri Bergson’s critique of the cinematographic illusion plays in the development of Deleuze’s ontological conception of difference – specifically in his 1956 essay “Bergson’s Conception of Difference.” The consequence of Bergson’s characterisation of human thought, perception and language as cinematographic (...) in their orientation is that any philosophy that seeks to grasp being in its own terms must overcome or surpass the human to do so. This necessity plays itself out across the Deleuzian oeuvre in diverse formulations in relation to the Nietzschean themes therein. In doing so, however, the human is ‘left behind,’ such that Peter Hallward is able to contend that the human and properly human concerns have no place in Deleuzian philosophy. My argument is that Deleuze turns to the cinema to think through the question of the human relation to being, on the basis of difference as such. Deleuze argues that the essence of the cinema is to be free of the cinematographic illusion - it ‘thinks’ in terms of real difference first of all. On that basis, it is able deduce the genesis of that illusion, and of the cinematographic orientation of human being and thought. The classical cinema dramatises the history of philosophy insofar as it remains subject to the cinematographic illusion and subordinates time to movement, but the modern cinema reverses this subordination in terms that do not ‘overcome’ or ‘surpass’ the human, but rather constitute its exposure to being as real difference. The modern cinema dramatises in turn the experience of what Kant calls the “fractured I,” which experiences its own thought not as spontaneity or power, but as time as the form of change. Deleuze’s Cinema books can thus be read as a response to the demands laid out in Solomon Maimon’s critique of Kant, locating the Cinema books and their treatment of the history of philosophy firmly in the context of Deleuze’s post-Kantian project. At the same time, the Cinema books thereby map out the relation of the human and properly human concerns to the difference of being as a creative and productive force that bears on those concerns without being reduced to them – the thought of being as the event of thought. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:God’s Knowledge of the World: Medieval Theories of Divine Ideas from Bonaventure to Ockham by Carl A. VaterBenjamin R. DeSpainVATER, Carl A. God’s Knowledge of the World: Medieval Theories of Divine Ideas from Bonaventure to Ockham. Washington, D.C.: The Catholic University of America Press, 2022. xi + 294 pp. Cloth, $75.00Carl Vater skillfully blends historical and constructive concerns in his study of medieval theories of the (...) divine ideas. The book, first, makes a significant contribution to the body of scholarly resources on medieval philosophy by systematically mapping out the complex intellectual history of the divine ideas between the years 1250 and 1325. Throughout the work Vater displays a staggering command of the relevant literature, figures, and ideas from this period of philosophical development. Second, he provides a robust defense and promotion of John Duns Scotus’s theory of the divine ideas, which he regularly insists is the best theory. Through careful analysis of the often subtle differences in medieval articulations of the divine ideas to answer the questions of how God knows and produces creatures, Vater makes the case that Scotus avoided certain pitfalls in earlier theories that rely on a flawed understanding of relations influenced, principally, by Avicenna’s notion of essence.The book itself is divided into five parts with each systematically detailing a particular theory, beginning with the “imitability theory” represented by Thomas Aquinas, Henry of Ghent, and Bonaventure—the one figure, in Vater’s narrative, capable of escaping Scotus’s subsequent critiques. According to Vater, the imitability theory is defined by several notable characteristics, including that the divine ideas are “secondary objects of the divine intellect when it knows the divine essence,” that they perform both cognitive and causal roles, that they are relations, and that there are many of them. The “infinite intellect theory” critiques the imitability theory for depending on a notion of relations that is mistaken for supposing that relations can be known before the terms of the relation are themselves known. In this section, Vater examines the works of Peter John Olivi and his student Petrus de Trabibus. The third part considers what Vater calls the “objectum cognitum theory” developed by James of Viterbo. Here, according to Vater, we encounter the first signs, following Olivi and de Trabibus’s critique of the imitability theory, of the shift away from identifying the divine ideas with relations to defining them as creatures themselves. This shift culminates in the “creatura intellecta theory” introduced by Richard of Mediavilla, but it is not properly developed until Scotus, who concludes that “God knows relations because he knows possible creatures.” The section ends with an analysis of Scotus’s influence on the theories of early Thomists and Scotists, including John of Paris, Thomas of Sutton, and Henry of Harclary. In the fifth part, Vater turns to the “nominalist theory” of Peter Auriol and [End Page 373] William of Ockham. Although both Auriol and Ockham offer accounts of the divine ideas, these are, as Vater says, little more than nods to the Augustinian tradition that ultimately amount to a rejection of the divine ideas.Vater’s approach to these medieval theories has many strengths. By not only classifying the prominent theories during this period but also systematically organizing his interpretation of each respective author, he is able to create a comparative framework for assessing the central issues at play in the divine ideas, such as their status, definition, cognitive and causal roles, plurality and unity, exemplarity, and the question of nonexistent possibles, and he traces variations in each area to identify where change, development, and critique are actually occurring within this seventy-five years of intellectual history. He also is attentive to figures often overlooked in larger narrations of medieval philosophy, and he locates their contributions to the varied development of the divine ideas. More importantly, however, Vater is able to maintain coherence in his evaluation of these complex, intertwining layers of medieval philosophical reflection by constantly returning to the overarching theme of relations in the movement from identifying the divine ideas with relations to approaching them as creatures themselves. Vater is correct when he notes that the divine ideas form a... (shrink)

The subject of our consideration was the question of the essence and specifics of the implementation of the communicative-translation function by the religion. Tasks put forward within the division: 1) characterize the specifics and structure of religious communication in the paradigm of the general theory of communication; 2) analyze the transformations of religious communication in the modern age; 3) highlight the specifics of the communicative and translated function of religion and the directions of its transformation in a globalized (...) class='Hi'>world. (shrink)

This book is concerned with Aristotle’s definition of the human capacity for rational thinking (nous) offered in De anima. For Aristotle, nous is the principle, and ultimate explanans, of all the phenomena of human thinking. The book presents an in-depth interpretation of De anima III 4–8 as a single and coherent philosophical argument. More specifically, the book argues for the following views: (i) Rationalism. Humans come to know the world via two fundamentally different cognitive powers: nous and perception. They (...) are fundamentally different cognitive powers because the nature of their corresponding object is fundamentally different; -/- (ii) Essentialism. The human power for thinking is defined as a capacity for directly grasping the essences of everything there is, including itself. It is this very capacity that Aristotle shows to be the principle of all other kinds of human thinking; -/- (iii) Separatism. Human nous is unmixed with the body, has no dedicated bodily organ, and is separable from the body. As a result, it cannot be assimilated to any of the other parts of the soul. While nous belongs to our essence as human beings, it is not part of the natural world; -/- (iv) Embeddedness in the cognitive soul. Human nous is embedded in a cognitive soul. Among other things, this means that the distinctive activity of human nous—thinking—can only take place in the context of a larger set of activities which are common to the body and the soul. (shrink)

In this paper, I will discuss the need for a theory of essences within Object-Oriented Ontology (OOO) and then formulate one. I will do so by drawing on Graham Harman’s work on OOO and Martin Heidegger’s thought on the essence of being, presented in his Introduction to Metaphysics. Harman touches on essences, describing them as the tension between a withdrawn object and its withdrawn qualities, but fails to distinguish between essential and inessential qualities within this framework. To fill in (...) the gaps, I will turn to Heidegger’s explication of phusis in order to show that an essential aspect of being is how one enters into causal relations and continually reveals oneself to other beings. In bringing OOO and Heidegger together, I will find that each object has a unique way of exerting itself in the world and that the domestic relations that make up this unique profile are essential to it, while other domestic relations, those that do not influence its particular way of exerting itself, are inessential. Thus, the essence will be found to be the set of domestic relations that make up the determinate form, or unique causal profile, of the object. (shrink)

Gentrification has led to the eviction and displacement of many people from working-class areas around the world. However, the relationship between gentrification and displacement has sparked much debate in the literature, with some researchers downplaying displacement, while others have argued that gentrification can occur without the displacement of people. These studies have tended to be quantitative in nature. However, there are few qualitative accounts of the experience of displacement and there is little consideration of the affective or phenomenological dimensions (...) of displacement in current debates about gentrification. This is in part because researchers have tended not to engage directly with displaced people as it is often difficult to locate them. The purpose of this article is to describe the essence of displacement from the perspective of a group of individuals who were evicted from their homes in a gentrifying inner-city area of Johannesburg, South Africa. Through the methodology of transcendental phenomenology, five interrelated themes were derived from in-depth interviews with the participants. The findings show that the essence of displacement is one of great pain, loss and trauma, which disrupts the lifeworld of those displaced and impacts their overall health and well-being. (shrink)

The Essence of Reality consists of one hundred brief chapters interspersed with Qurʼanic verses, prophetic sayings, Sufi maxims, and poetry. The book takes readers on a philosophical journey, with expositions of questions including the problem of the eternity of the world; the nature of God's essence and attributes; the concepts of "before" and "after"; and the soul's relationship to the body.

Hajime Tanabe (1885-1962), the Kyoto- School philosopher of modern Japan, attempts to interpret Aristotle's ontology as being involved in the logic of self-identical being without self-negative conversion in action from his own dialectical perspective. For Tanabe, the eternal essence or Form is to be mediated by the dynamic character of matter, i.e., the temporality pertinent to the changing movement. For Aristotle, however, the essence or pure activity as the principle of being is devoid of such a dynamic mediation, (...) but is rather regarded as the past being, i.e., what it should be originally and eternally. In other words, for Aristotle, evil and matter are the lacks of goodness and the eternal Form that are identical with the essence of the individual substance. Evil is to be self-negatively mediated to goodness in free action through conversion in Tanabe's perspective. Movement pertaining to matter is not simply an incompletion of pure activity, but is rather self-negatively converted into the activity as the transcendent principle of the dialectical unification of time and eternity, matter and Form, evil and Goodness. The individual existence has freedom to unify the self-contradistinctive opposed moments, i.e., subjective action and objective being in a way of mutually negating conversion. The difference between Tanabe and Aristotle lies in that for Tanabe practice is relevant to the future, whereas for Aristotle contemplation is concerned with eternity as invariable and imperishable being since the past. While Aristotle's logic is confined to the self-identity of being in contemplation, Tanabe's logic is structured by the triadic elements of individuality, species as the relative universal, and genus as the absolute universal in terms of the negative conversion in action. (shrink)

The range of research on value issues is quite wide today. The transition from understanding values as a philosophical category to a psychological interpretation of the nature of values has led to the emergence of many trends and psychological concepts of value problems. In this study, we will reveal the main modern views of researchers on the essence of the value-semantic matrix of both an individual and the entire world community. The modern socio-economic situation in the world (...) is characterized by an almost permanent crisis state both in the social, and in the spiritual, cultural sphere, which is due to the existence of the consequences of the epidemic situation in the world. Based on this, the problem of teaching the dynamics of the value-semantic matrix, its development and changes under the influence of personality crises of various origins, both external ones caused by the social situation in the country, the impact of new information technologies, and internal ones, caused by growing up, growth, psychological development personality in time and space. Therefore, the purpose of this work is to conduct a theoretical study of the value-semantic sphere as a system that undergoes changes during the crisis periods of a person's life and to investigate the main deformations that have taken place in the Mind of existence of today's post-pandemic reality. (shrink)

In “Can the New Tenseless Theory of Time be Saved by Individual Essences?” Smith objects to the co-reporting theory on the groundsthat, since it grants that every time “now” is tokened it expresses a unique individual essence of that time which can be apprehended only at that time, the co-reporting theory is consistent with an A-theory of time that holds that each moment of time acquires its own particular property of presentness. I argue that Smith’s conclusion does not follow, (...) since moments of time have world-indexed properties which, though distinct from the individual essences ascribed to them by the use of “now,” are expressible by the use ofdate-expressions. (shrink)

Ibn Gabirol apresenta, em sua obra Fons Vitae, um modelo metafísico baseado no hilemorfismo universal, ou seja, na presença de matéria e de forma em todos os seres, tanto corpóreos quanto espirituais. Embora considerado um autor neoplatônico, Ibn Gabirol não explicita propriamente uma henologia, mas parte das realidades sensíveis e corpóreas em direção às mais sutis. Este artigo pretende inverter essa apresentação do autor, buscando redesenhar sua metafísica a partir da Essência Primeira até o fim da criação. Para tanto, o (...) ponto específico analisado, ainda que de modo incipiente, é a questão da unidade e seu qualificativo uno/una, tanto na atribuição que ele faz em seu modelo ontológico, quanto nos seus aspectos lógicos. In his work Fons Vitae, Ibn Gabirol presents a metaphysical model based on universal hylomorphism, i.e., on the presence of matter and form in all beings both corporeal and spiritual. Although considered a neoplatonic author, Ibn Gabirol does not properly present a henology, but starts from sensible and corporeal realities and then treats the more subtle ones. This article intends to invert the author's presentation, seeking to redesign his metaphysics from the first essence to the end of creation. To this end, the specific point that is analyzed (although in an incipient way) is the question of unity and its qualifier 'one', both in the attribution Ibn Gabirol makes in his ontological model and in the model's logical aspects. (shrink)

As all past philosophies superseded religion, their systems were established on the basis of comprehending a true human essence. As Marx pointed out, after first elaborating various concepts of religion, politics, morality, legal philosophy, and aesthetics, philosophers then kowtowed and became the slaves to those very concepts. Such a condition should be completely altered. From the time when Marx voiced these criticisms and placed "man" at the center of world history, while also pointing out that establishing the position (...) of the subject is proof of human freedom—that is, of human essence—and from the time when Marx emphasized that the real human world, including various social relations, ideological states, and the natural world "possessed by man," is the product of human creativity and a human manifestation formed in history and developed historically, and that man should and can emancipate himself from all that, all previous notions of the human essence became outdated and were no longer worth being seriously debated. From that time on, the philosophy of "man" has transcended the realm of speculative philosophy and gained unprecedented significance both in practice and in reality, and has become an active, initiating force in the modern socialist movement. (shrink)

In the Incoherence of the Philosophers, Abu Hamid al-Ghazali leveled a critique against twenty propositions of the Muslim peripatetic philosophers, represented chiefly by al-Farabi and Ibn Sina. In the Fourth Discussion of this work, he rejects their claim to having proven the existence of God. The proof to which he objects is none other than the famous ‘argument from contingency.’ So why did the eminent theologian of Islamic orthodoxy reject an argument for God’s existence that ultimately became so historically influential? (...) I will show that the real targets of Ghazali’s objection are the philosophers’ doctrine of the pre-eternity of the world, and their denial of divine attributes. These two issues are linked in such a way that, only if the philosophers’ argument regarding the divine essence is sound, would they be able to prove that He exists while holding to the doctrine of the world’s pre-eternity. (shrink)

As we know, Merleau-Ponty was struggling with a dynamic shift in his thinking at the premature end of his life. In those last notes he raises the question of how to elaborate a phenomenology of “’the other world’, as the limit of a phenomenology of the imaginary and the ‘hidden’”—a phenomenology that would open onto an invisible life, community, other and culture (VI, Jan. 1960). In her essay on “Eye and Mind”, “To Paint the Invisible”, Luce Irigaray shows why (...) Merleau-Ponty was not yet ready to address this question, why he was not yet ready to engage the limits of his vision posed by the presence of an other. Against Merleau-Ponty’s assertion that the artist has no other task than to bring to appearance the world in the way he corporeally encounters it employing no “other technique than what his eyes and hands discover in seeing and painting”, Irigaray argues that the painter as phenomenologist then appropriates what is other to his vision without reflecting upon a limit to vision, as well as the limit provided by the invisible of an other, an other world. This is not to say that there are no intertwinings with this other, for there are other metabolisms with which we engage the world. Moreover, the sharing of vision with an other can alter the ways I see, challenging cultural complicity, rather than providing evidence that we share the same world. Irigaray is of course not the first to challenge a phenomenological approach to art and to vision—and here I turn specifically to Gilles Deleuze—who is critical of the phenomenological tendency to take on a world given to us by others. His artist, Francis Bacon, focuses on the sensation, which remains unmediated by narration or the feelings of others. Finally, the artworks of abstract expressionist artist Joan Mitchell are considered in the ways that they open up a different time-space; they suggest an other world with which we intertwine without appropriation. Her works, I argue, defy reduction to essences, but also do not rely merely on sensation—for this reason they point in the direction of how to think phenomenology anew. For I do think Merleau-Ponty would be open to these conversations, to these other worlds and other visions. (shrink)

The article deals with the differentiation of “novation” and “innovation” notions. Some possible ways of showing the essence of novation phenomenon in philosophical anthropology are given. The definition of novation is worked out. Some reasons for the distinguishing of “novation”, “creation” and “creativity” are displayed. Novation is represented as the way of self-contradiction solution, as an answer to the emerging individual crisis. The analyzed phenomenon is also considered to be a new way of traditional cultural process realization. The ability (...) of a personality selfactualization in modern social and cultural field is related to an individual novational fundamentals manifestation of an individual. The culture of a personality self-actualization is suggested being considered a reproduction of novation. (shrink)

We propose that human reasoning relies on an inherence heuristic, an implicit cognitive process that leads people to explain observed patterns (e.g., girls wear pink) in terms of the inherent features of their constituents (e.g., pink is an inherently feminine color). We then demonstrate how this proposed heuristic can provide a unified account for a broad set of findings spanning areas of research that might at first appear unrelated (e.g., system justification, nominal realism, is–ought errors in moral reasoning). By revealing (...) the deep commonalities among the diverse phenomena that fall under its scope, our account is able to generate new insights into these phenomena, as well as new empirical predictions. A second main goal of this paper, aside from introducing the inherence heuristic, is to articulate the proposal that the heuristic serves as a foundation for the development of psychological essentialism. More specifically, we propose that essentialism—which is the common belief that natural and social categories are underlain by hidden, causally powerful “essences”—emerges over the first few years of life as an elaboration of the earlier, and more open-ended, intuitions supplied by the inherence heuristic. In the final part of the paper, we distinguish our proposal from competing accounts (e.g., Strevens' K-laws) and clarify the relationship between the inherence heuristic and related cognitive tendencies (e.g., the correspondence bias). In sum, this paper illuminates a basic cognitive process that emerges early in life and is likely to have profound effects on many aspects of human psychology. (shrink)

Modernity is Apocalyptic in essence. This assertion is stated nowhere in The Triumph of Human Empire by Rosalind Williams, nor in l’Apocalypse Joyeuse by Jean-Baptiste Fressoz. But it is everywhere on the pages of these books, which recount the ambivalence with which the project of Modernity and its technological feats has been received in specific times and places, notably nineteenth century Europe. Essence here is not to be understood as transcendental a-historical necessity, but as unfolding historical ontology. Despite (...) contingencies, the project of Modernity has continued to realise a secular ending of the world by continuing to conquer and destroy it.In The Triumph of Human Empire we encounter ambivalence through the biographies and works of three European writers, who employed the genre of romance to express their uneasiness with modern civilisation and progress: Jules Verne, William Morris and Louis Stevenson. Verne is perhaps the writer which we would least expect to have probl .. (shrink)

In modern times, during the period of the bourgeois revolutions, bourgeois concepts of the human being played a positive and often progressive revolutionary role in the struggle against the religious and feudal world-view, since the bourgeois sociopolitical, sociological, and philosophical theories of the seventeenth and eighteenth centuries contained some elements of scientific validity, objective truth. It is precisely these factors that later became part of the Marxist-Leninist theory of society.

In the seventeenth century the microscope opened up a new world of observation, and, according to Catherine Wilson, profoundly revised the thinking of scientists and philosophers alike. The interior of nature, once closed off to both sympathetic intuition and direct perception, was now accessible with the help of optical instruments. The microscope led to a conception of science as an objective, procedure-driven mode of inquiry and renewed interest in atomism and mechanism. Focusing on the earliest forays into microscopical research, (...) from 1620 to 1720, this book provides us with both a compelling technological history and a lively assessment of the new knowledge that helped launch philosophy into the modern era. Wilson argues that the discovery of the microworld--and the apparent role of living animalcula in generation, contagion, and disease--presented metaphysicians with the task of reconciling the ubiquity of life with human-centered theological systems. It was also a source of problems for philosophers concerned with essences, qualities, and the limits of human knowledge, whose positions are echoed in current debates about realism and instrument-mediated knowledge. Covering the contributions of pioneering microscopists (Leeuwenhoek, Swammerdam, Malpighi, Grew, and Hooke) and the work of philosophers interested in the microworld (Bacon, Descartes, Leibniz, Malebranche, Locke, and Berkeley), she challenges historians who view the abstract sciences as the sole catalyst of the Scientific Revolution as she stresses the importance of observational and experimental science to the modern intellect. (shrink)

The problem of natural kinds forms the busy crossroads where a number of larger problems meet: the problem of universals, the problem of induction and projectibility, the problem of natural laws and de re modalities, the problem of meaning and reference, the problem of intertheoretic reduction, the question of the aim of science, and the problem of scientific realism in general. Nor do these exhaust the list. Not surprisingly then, different writers confront a different ‘problem of natural kinds,’ depending on (...) which background issue is for them the principal issue at stake. The issues of essentialism, meaning, and reference, for example, have tended to dominate recent discussions of natural kinds. But evidently these are only part of the puzzle. (shrink)

The period March 2020–March 2021 marks the time reference for this theoretical study as it denotes the initial surge of the Pandemic, where whole societies were destabilized by the ferocity of Covid-19. Within this context, I posit COVID-19 as a transforming event: one that exhausts worlds. Drawing from Jan Masschelein’s works on Arendt and the architecture of public education, the question at hand is how does Covid-19, as a transforming event, affect and change the very essence of education? I (...) begin by comparing two definitions of crisis, Arendt’s notion of krisis, with philosopher Peter Pal Pelbart’s thinking around crisis, illness, and ‘exhaustion.’ I conclude by identifying an ‘inconsequential’ architectural space, a ‘spandrel.’ This spatial by-product, revealed during the Pandemic, is located within the very design of the ‘perfect’ public school, schole: the Arendtian ‘table.’ This spandrel aligns with Fernand Deligny’s ‘primordial communism.’. (shrink)

Note by editors of Voprosy filosofii: March 2, 1979, marked 85 years since the birth of the distinguished Soviet biochemist Academician Aleksandr Ivanovich Oparin. This splendidanniversary coincides with another remarkable event. Fifty-five years ago, in 1924, A. I. Oparin offered an original solution to a problem that had excited the human mind for centuries — the problem of the origin of life on earth. Oparin's tiny book, published in 1924 by the "Moskovskii rabochii" Press, had tremendous importance for science and (...) world view. Inthe years that followed, Oparin developed its content and won worldwide recognition, helping to establish the fame of Soviet science. (shrink)

"Philosophical anthropology" is a special and extremely comprehensive branch of the history of world science and modern philosophical thought in general. Philosophical anthropology is an important branch of Western philosophical and social thought. Philosophical anthropology, which took its historical roots from ancient Greek philosophy, existed in the later periods of the history of philosophy, acquired a new meaning in German classical philosophy, and became a special trend in the history of philosophy starting from the beginning of the 20th century, (...) is also, in general, a new philosophy of man. It is a philosophical teaching that includes the results of various systems of knowledge about the nature and existence of man in the 20th century Western Europe, mainly in German-language philosophy. In a broader sense, philosophical anthropology is a scientific system consisting of a set of philosophical ideas, concepts, and teachings that focus on man and aim to study him. Philosophical anthropology, which emerged in the late 1920s as a result of Max Scheler's philosophical teaching and was considered a new direction in the history of thought, developed as a branch of non-classical philosophy. (shrink)

This paper elucidates and interrogates Schopenhauer’s notion of will and its relation to ideas about the unconscious, with the aim of addressing its significance as an exercise in philosophical psychology. Schopenhauer aims at a global metaphysics, a theory of the essence of the world as it is in itself. He calls this essence will (Wille), which, to put it briefly, he understands as a blind striving for existence, life, and reproduction. Human beings have the same essence (...) as all other manifestations of will in the world, and this has several consequences for Schopenhauer's conception of humanity. Neither rationality, nor intentional action, nor consciousness is primary or foundational in human beings. The true core of the personality is not the self-conscious ‘I’ or subject of knowledge, but rather the will, which is fundamentally blind and without knowledge, but which interacts with the intellect almost as an agent distinct from it. Schopenhauer makes a number of psychological observations about the interplay of intellect and will. These include the omnipresence of sexual desire in or beneath our experience; the persistence of desires and affects unknown to the self-conscious intellect; the will's capacity to prohibit representations in the intellect that are liable to arouse certain emotions; and the occurrence of madness when memories painful to the will are shielded from the intellect and arbitrary representations are substituted. (shrink)

The purpose of the study is to substantiate and develop the author's model of the structure of the life world of a modern person based on the analysis of fundamental sociophilosophical ideas about the structuring of the human life world. The scientific novelty consists in generalizing the views of various representatives of the phenomenological direction on the human life world and structuring the life world of a modern person, taking into account such factors as the socio-biological (...) nature of a person, the multidimensional nature of the human psyche and the peculiarities of the space of everyday life of a modern person. As a result, it is proved that the structure of the life world of a modern person is nothing more than a three-component system formed by the "objective world", reflecting the biological essence of a person and the experience of scientific research accumulated by mankind, the "social world", reflecting the social essence of a person and the moral and ethical norms developed by mankind, the" inner world", reflecting the peculiarities of the functioning of the human psyche in cognitive, emotional, evaluative and behavioral aspects. (shrink)

This book attempts to gain a new insight into the world of Philosophy.

A priori reflection, common sense and intuition have proved unreliable sources of information about the world outside of us. So the justification for a theory of the categories must derive from the empirical support of the scientific theories whose descriptions it unifies and clarifies. We don’t have reliable information about the de re modal profiles of external things either because the overwhelming proportion of our knowledge of the external world is theoretical—knowledge by description rather than knowledge by acquaintance. (...) This undermines the traditional idea that to be an object of category C is to be an object with such- and-such characteristic possibilities of combination. But this is no loss because de re modal thought lacks utility for creatures like us. (shrink)