The paper demonstrates that Parmenides’ monism is a logical consequence of his criteria for philosophy, in conjunction with the logical operators he uses, and their holistic connection. Parmenides, I argue, is the first philosopher to set out explicit criteria for philosophy, establishing as criterion not only consistency, but also what I call rational admissibility, the requirement when giving an account of something that the account be based on rational analysis and can withstand rational scrutiny. I give a detailed account of (...) the logical operators Parmenides uses in his argument and of the way in which his notion of being is tailored to fit both them and his criteria for philoso-phy. (shrink)

Abduction* is the genus with deduction and induction as species. Modus tollens is backward reasoning as an unknown proposition is inferred from a known proposition. Reductio ad absurdum is abductive because the conclusion is inferred by deriving a contradiction from an assumption. Inductive reasoning from effect to cause is also backward reasoning. But abduction* consists of forward reasoning as well. The generic structure of abductive* argumentation is universal among all cultures, occupations and disciplines.

The question whether quantum discontinuity can or cannot provide an answer to Zeno’s Paradoxes is reopened. It is observed that what is usually understood by the term “discontinuity”, namely, Einstein’s conception of the photon as described by himself and all others, is unsuitable to the task because, essentially,it reduces to the trivial ‘discontinuity’ of objects scattered in space. By contrast, quantization of energy levels, which are not in space but can only alternate in time, provide the right sort of discontinuity (...) required. Discrete quantized orbits, corresponding to eigen-frequencies, are irreducible, and nothing is allowed to stand in-between them in satisfaction of the quantum postulate, furnishing the requisite, and so far missing, immediate nextness of a point to a certain other. In this way, Zeno’s Runner need not postpone his first step indefinitely, always waiting upon an infinity of preceding steps, before it can be taken. There is now a point that is next to a point and so a step on that point, which is the first step. It follows that, if one kind of discontinuity, Einstein’s, is incapable of offerring an answer to Zeno, while another kind can, the two are discrepant. One of them, the former, is not a kind of discontinuity properly so called at all, though evidently the consequence of one. (shrink)

This thesis regards the ancient Pythagorean-Platonic idea of heavenly harmony as a philosophical paradox: stars are silent, music is not. The idea of ‘star music’ contains several potential opposites, including imagination and sense perception, the temporal and the eternal, transcendence and theophany, and others. The idea of ‘star music’ as a paradox can become a gateway to a different understanding of the universe, and a vehicle for a shift to a new – and yet very ancient – form of consciousness. (...) The ancient Greeks had a holistic form of consciousness, which was continually intermingling with a transpersonal dimension. This ancient state of consciousness was related to a musical understanding of the world, the Pythagorean-Platonic experience of the universe as an ordered cosmos. My research is approached from two angles, namely from the history of ideas and from musicianship, exploring how music is reflected in the world of thought. By reflexive re-reading of the sources, new insights into the nature of musical consciousness are explored. The idea of ‘star music’ can be found throughout the history of music and thought in the West, including Plato’s works and that of other ancient philosophers, through the Middle Ages, the Renaissance, the Romantic era and the twentieth century up to contemporary New Age music. As a conclusion, the paradox of ‘star music’ is connected to an experience of a shared transcendent meaning of music, which can be present in the moment of a musical performance. ‘Star music’ is a living paradox. (shrink)