Abstract We examine the construction of electromagnetism in its current form, and in an alternative form, from a point of view that combines a minimal realism with strict rational demands. We begin by discussing the requests of reason when constructing a theory and next, we follow the historical development as presented in the record of original publications, the underlying epistemology (often explained by the authors) and the mathematical constructions. The historical construction develops along socio-political disputes (mainly, the reunification of Germany (...) and the second industrial revolution), epistemic disputes (at least two demarcations of science in conflict) and several theories of electromagnetism. Such disputes resulted in the militant adoption of the ether by some, a position that expanded in parallel with the expansion of Prussia. This way of thinking was facilitated by the earlier adoption of a standpoint that required, as a condition for understanding, the use of physical hypothesis in the form of analogies; an attitude that is antithetic to Newton's “hypotheses non fingo”. While the material ether was finally abandoned, the epistemology survived in the form of “substantialism” and a metaphysical ether: the space. The militants of the ether attributed certainties regarding the ether to Faraday and Maxwell, when they only expressed doubts and curiosity. Thus, the official story is not the real history. This was achieved by the operation of detaching Maxwell's electromagnetism from its construction and introducing a new game of formulae and interpretations. Large and important parts of Maxwell work are today not known, as for example, the rules for the transformation of the electromagnetic potentials between moving systems. When experiments showed that all the theories based in the material ether were incorrect, a new interpretation was offered: Special Relativity (SR). At the end of the transformation period a pragmatic view of science, well adapted to the industrial society, had emerged, as well as a new protagonist: the theoretical physicist. The rival theory of delayed action at distance initiated under the influence of Gauss was forgotten in the midst of the intellectual warfare. The theory is indistinguishable in formulae from Maxwell's and its earlier versions are the departing point of Maxwell for the construction of his equations. We show in a mathematical appendix that such (relational) theory can incorporate Lorentz' contributions as well as Maxwell's transformations and C. Neumann's action, without resource to the ether. Demarcation criteria was further changed at the end of the period making room for habits and intuitions. When these intuited criteria are examined by critical reason (seeking for the fundaments) they can be sharpened with the use of the Non Arbitrariness Principle, which throws light over the arbitrariness in the construction of SR. Under a fully rational view SR is not acceptable, it requires to adopt a less demanding epistemology that detaches the concept from the conception, such as Einstein's own view in this respect, inherited from Hertz. In conclusion: we have shown in this relevant exercise how the reality we accept depends on earlier, irrational, decisions that are not offered for examination but rather are inherited from the culture. (shrink)

Examining the period from the 1920s to the 1970s, one of the key features of the Rivista di filosofia is a lasting interest in the Renaissance and Vico, while the focus on seventeenth-century metaphysics is significantly more time-bound and linked to the activity of some prominent figures in the journal such as Piero Martinetti, Eugenio Colorni, and Gioele Solari. The rise of the Neo-Enlightenment caused a radical change in the editorial choices, and turned the journal’s focus toward the (...) empiricist tradition and the debate on historiographical methodologies. (shrink)

We present an epistemological schema of natural sciences inspired by Peirce's pragmaticist view, stressing the role of the \emph{phenomenological map}, that connects reality and our ideas about it. The schema has a recognisable mathematical/logical structure which allows to explore some of its consequences. We show that seemingly independent principles as the requirement of reproducibility of experiments and the Principle of Sufficient Reason are both implied by the schema, as well as Popper's concept of falsifiability. We show that the schema has (...) some power in demarcating science by first comparing with an alternative schema advanced during the first part of the 20th century which has its roots in Hertz and has been developed by Einstein and Popper. Further, the identified differences allow us to focus in the construction of Special Relativity, showing that it uses an intuited concept of velocity that does not satisfy the requirements of reality in Peirce. While the main mathematical observation connected with this issue has been known for more than a century, it has not been investigated from an epistemological point of view. A probable reason could be that the socially dominating epistemology in physics does not encourage such line of work. We briefly discuss the relation of the abduction process presented in this work with discussions regarding ``abduction'' in the literature and its relation with ``analogy''. (shrink)

We analyse Peirce's original idea concerning abduction from the perspective of a critical philosophy, the same philosophy in Peirce's background. Peirce's realism is directly related to reason and experience and has ties with the idea of abstraction. We show how the philosophical environment of science abruptly changed, specially for physics, in the last period of the XIX century and the initial period of the XX century, when science was divided in disciplines and set free from the control of philosophy. The (...) phenotype of the physicist changed from abstract into imaginative thinker. Further, abstraction was linked to metaphysics and attacked as such. Elements of phantasy and dogmatism entered the scene in place of abstraction alongside ideas taken from the observable world. We provide evidence that the scientists of the newer kind had problems understanding those of the older school. As a consequence of the problems arisen in conciliating the idea of science grounded in experience and reason with the science actually practised, the former conceptualisation was abandoned. Abduction was then expelled from science. In the late part of the XX century and the early part of our century abduction re-emerged but without its scientific attributes. -/- Influenced by a constructivist, Piagetian, perspective of science, we propose and discuss a small number of conditions that we identify as characteristics of rational abduction: rules for the rational construction of theories. We show how a classical example of belief that satisfies today's most common definition of abduction does not match the standards of scientific retroduction. We further show how the same rules indicate the detachment of Special Relativity from the observable world, a fact actually known to Einstein. Finally, the same rules indicate the initial point in the path to re-conciliate Electromagnetism with the classical view of spatial relations, a matter not possible for the imaginative scientist but not extremely difficult for the abstract scientist. We close arguing that there is an urgent need to develop a critical epistemology, and to give room in science for the abstract scientist. (shrink)

Solaris este un roman filozofic de ficțiune din 1961 al scriitorului polonez Stanisław Lem. Cartea se axează pe temele naturii memoriei umane, experienței și inadvertenței comunicării între speciile umane și non-umane. În cercetarea și examinarea suprafeței oceanice a planetei Solaris de la o stație de cercetări, oamenii de știință umani, la rândul lor, sunt aparent studiați de planeta în sine, care sondează și examinează gândurile ființelor umane care o analizează. Solaris are capacitatea de a le scoate la suprafață preocupările secrete, (...) preocupările vinovate, într-o formă materială, astfel încât fiecare om de știință se confruntă personal cu acestea. (shrink)

În acest eseu evidențiez principalele aspecte psihologice și filosofice desprinse din filmul Solaris regizat de Andrei Tarkovski, precum și tehnicile cinematografice utilizate de regizor pentru a-și transmite mesajele spectatorului. În ”Introducere” prezint pe scurt elementele relevante din biografia lui Tarkovski și o prezentare generală a romanului Solaris a lui Stanislav Lem și filmul Solaris în regia lui Andrei Tarkovsky. În ”Tehnica cinematografică” vorbesc despre ritmul specific al scenelor, mișcarea radicală declanșată de Tarkovsky în cinematografia modernă, rolul elementelor simbolice și iconice, (...) , și afinitățile cu zona fantastică a literaturii ruse. În ”Aspecte psihologice” analizez problema comunicării într-o societate umană a viitorului considerată de Tarkovsky ca rigidă, obsesia casei, și evoluția personală a lui Kris, Hari, și a relațiilor dintre ei. În ”Aspecte filosofice” se analizează filmul prin prisma filosofiei minții (dualismul cartezian, reducționismul și funcționalismul), a problemei identității personale, a teoriei spațiilor heterotopice dezvoltată de Michel Foucault, și interpretările semantice care se pot deduce din film. De asemenea, se analizează problema identității personale prin prisma filosofiei lui Locke. ”Concluziile” expun ideile generale rezultate din acest eseu, respectiv că Tentativele omului de a clasifica și de a păstra forme de interacțiune cu entități necunoscute vor fi întotdeauna condamnate la eșec și vor reflecta o greșeală majoră în lumea panoptică în care trăim. În acest cadru de analiză a filosofiei minții, funcționalismul pare a fi cel mai intuitiv. Solaris este, totuși, un film care începe ca o căutare a răspunsurilor și ajunge să ofere aceste răspunsuri împreună cu o serie de întrebări cu totul diferite. (shrink)

Filmul Solaris (1972) al lui Andrei Tarkovski poate fi abordat prin prisma filosofiei minții, a întrebărilor esențiale în acest domeniu. Aceste întrebări se referă la personalitate și suferință, care acoperă cel puțin perioada de la Rene Descartes la filosofii moderni, precum Derek Parfit și Hilary Putnam. Solaris apare ca un vehicul adecvat pentru a explora provocările filosofice. De altfel, filmul Solaris al lui Tarkovsky permite multiple interpretări semantice. În același timp, Solaris prezintă un exemplu excelent despre modul în care spațiile (...) heterotopice pot exista în termeni cinematografici. DOI: 10.13140/RG.2.2.30893.23521. (shrink)

Filmul lui Tarkovski este o "dramă a durerii și a redresării parțiale" concentrată asupra psihologiei echipajului stației de pe Solaris. Tarkovski a dorit astfel să abordeze mai profund emoțional și intelectual genul științifico-fantastic, considerat de el ca fiind superficial. Filmul tratează un fenomen central al analizei critice-psihologice a lui Klaus Holzkamp asupra percepției umane: condițiile de percepție a lumii umane sunt semnificative pentru ființele umane. Este este o specie complexă noetică - o specie cu proprietatea gândirii, care a evoluat în (...) condiții complet diferite de ale noastre. DOI: 10.13140/RG.2.2.23737.01120. (shrink)

About the main psychological and philosophical aspects detached from the film Solaris directed by Andrei Tarkovski, as well as the cinema techniques used by the director to convey his messages to the spectator. In the "Introduction" I briefly present the relevant elements of Tarkovski's biography and an overview of Stanislav Lem's Solaris novel and the film Solaris directed by Andrei Tarkovsky. In "Cinema Technique" I talk about the specific rhythm of the scenes, the radical movement triggered by Tarkovsky in modern (...) cinema, the role of symbolic and iconic elements, and affinities with the fantastic area of Russian literature. In Psychological Aspects I analyze the issue of communication in a human society of the future considered by Tarkovsky as rigid, the obsession of the house, and the personal evolution of Kris, Hari, and the relationships between them. In Philosophical Aspects, the film is analyzed through the philosophy of the mind (Cartesian dualism, reductionism and functionalism), the problem of personal identity, the theory of heterotopic spaces developed by Michel Foucault, and the semantic interpretations that can be deduced from the film. It also analyzes the issue of personal identity through Locke's philosophy. "Conclusions" show the general ideas of this essay, namely that Man's attempts to classify and maintain forms of interaction with unknown entities will always be condemned to failure and will reflect a major mistake in the panoptic world in which we live. In this framework of analysis of the philosophy of mind, functionalism seems to be the most intuitive. Solaris is, however, a movie that begins as a search for answers and comes to provide these answers with a whole range of different questions. -/- CONTENTS: -/- Abstract Introduction 1 Cinema technique 2 Psychological Aspects 3 Philosophical aspects Conclusions Bibliography Notes -/- DOI: 10.58679/MM59030 , ISBN 978-606-033-225-1. (shrink)

Stability of character is important for personal identity. Without stability, Kelvin's two colleagues suggest that Hari can be destroyed as an object. The correctness of Kelvin's intuition is also demonstrated by the famous inductive reasoning test of the duck. Unlike the dwarf of Sartorius who fails to pass the duck test of humanity. And as in the case of Snaut. Thed reductionism is part of a movement in the philosophy of mind that contradicts Cartesian dualism. René Descartes claims that human (...) beings possess a soul (or mind in modern terms) quite separate and qualitatively different from the body. DOI: 10.13140/RG.2.2.12384.43524 . (shrink)

The sci-fi premise of the 2002 film Solaris allows director Steven Soderbergh to tell a compelling and distinctly philosophical love story. The “visitors” that appear to the characters in the film present us with a vivid thought experiment, and the film naturally prods us to dwell on the following possibility: If confronted with a duplicate (or near duplicate) of someone you love, what would your response be? What should your response be? The tension raised by such a far-fetched situation reflects (...) a tension that exists in real life: that between an attraction to qualities possessed by a person and attraction to the person in a manner that transcends such an attachment to qualities. In short, this cinematic thought-experiment challenges us to reflect on what we really attach to when we fall in love: is it the person, or is it merely the cluster of characteristics the person manifests? Which sort of attachment is appropriate? Which is philosophical defensible? The protagonist Chris Kelvin’s ambivalence at encountering this bizarre possibility is gripping because it tracks our own ambivalence about such matters. Frankly most of us don’t know just how we would react to such a situation. The thought that accepting and embracing such a “visitor” involves a violation to the original person is natural and pervasive, especially if the acceptance comes with a failure to acknowledge the distinction between the original person and the “visitor”. At the same time, a deep attraction to such a person would surely also be entirely natural and perhaps even inescapable. We, like Kelvin, are torn in different directions by this (thankfully) far-fetched possibility. One philosopher who affirms that accepting a duplicate as though it were the original is the rational thing to do is Derek Parfit. His argument for “the unimportance of identity” is both powerful and radical, and though I’ll be critical of his approach, in the final section of the paper I suggest that it does offer up the resources for an intriguing interpretation of the end of this complex and ambiguous film. (shrink)

Tarkovsky a dezvoltat o teorie a cinematografiei pe care a numit-o "sculptarea în timp". Prin aceasta el a vrut să evidențieze caracteristica unică a cinematografiei ca mediu, aceea de aborda experiența noastră despre timp și de a o modifica. Filmul neregulat transcrie timpul în timp real. Folosind filmări lungi și câteva tăieturi în filmele sale, el a urmărit să ofere spectatorilor un sentiment de trecere a timpului, timpul pierdut și relația dintre un moment de timp și altul. El consideră cinematografia (...) ca o reprezentare a curenților distinctivi sau undelor de timp, transmise în film prin ritmul său intern. Ritmul este în centrul "filmului poetic." DOI: 10.13140/RG.2.2.35151.33447. (shrink)

Solaris présente un excellent exemple de la façon dont les espaces hétérotopiques peuvent exister en termes cinématiques. Le film de Tarkovsky explore la manière dont les expériences acquises dans l’espace hétérotopique offrent à l’individu la possibilité d’inverser la vision panoramique et comment ces expériences peuvent enfin nous montrer comment nous pouvons recouvrer ou restaurer notre existence en tant que sujets individuels. À travers les expériences des personnages du film, nous sommes invités à observer les nombreuses forces et discours qui ont (...) contribué à la création de cet espace, d’un point de vue externe. DOI: 10.13140/RG.2.2.26619.05926 . (shrink)

In Solaris, within the limits of heterotopic experience, several theoretical and ontological questions are examined through approaches on each character. Berton declares one of the main philosophical themes of the movie when he tells Kelvin: "You want to destroy that which we are presently incapable of understanding? Forgive me, but I am not an advocate of knowledge at any price. Knowledge is only valid when it's based on morality." The ocean does not mean anything as an object, it simply exists. (...) The ocean is not found in any of the human experimental approaches. DOI: 10.13140/RG.2.2.15910.68169 . (shrink)

Le film est un drame psychologique se déroulant à bord d'une station spatiale en orbite autour de la planète Solaris. Les trois membres de l'équipage ont des problèmes psychologiques. Le psychologue Kris Kelvin est envoyé là pour évaluer la situation, mais il fait face aux mêmes phénomènes mystérieux que les autres. Pour Tarkovsky, le conflit existentiel exposé par Lem n'était que le point de départ du développement de la vie intérieure des personnages. DOI: 10.13140/RG.2.2.11405.49129.

Tarkovski’s film is a drama of pain and partial recovery centered on the psychology of the Solaris station crew. Tarkovski wanted to address this way the deeply emotional and intellectual science-fantastic genre, considered by him to be superficial. The film approaches a central phenomenon of Klaus Holzkamp’s critical-psychological analysis of human perception: the perceptions of the human world are significant to human beings. In perception, human beings are oriented towards an objective sense, which objects possess it in connection with the (...) vital activity of the people. By virtue of this quality, the localization of meanings in objects is exclusively a characteristic of the human world. DOI: 10.13140/RG.2.2.13456.05129. (shrink)

Le film de Tarkovsky est un « drame de douleur et de récupération partielle » axé sur la psychologie de l'équipe de la station Solaris. Tarkovsky voulait aborder plus profond émotionnellement et intellectuellement le genre scientifique-fantastique, considéré par lui comme superficiel. Il traite un phénomène central de l'analyse psycho-critique de la perception humaine de Klaus Holzkamp : les conditions de la perception du monde humain sont significatives pour l'homme. Dans la perception, les êtres humains sont orientés vers un sens objectif (...) que possèdent les objets par rapport à l'activité vitale de l'homme. En vertu de cette qualité, la localisation des sens dans les objets est exclusivement une caractéristique du monde humain. DOI: 10.13140/RG.2.2.10967.42403. (shrink)

Les principaux aspects psychologiques et philosophiques détachés du film Solaris réalisé par Andrei Tarkovski, ainsi que les techniques cinématographiques utilisées par le réalisateur pour transmettre ses messages aux spectateurs. Dans « Introduction », je présente brièvement les éléments pertinents de la biographie de Tarkovski et un aperçu du roman Solaris de Stanislav Lem et du film Solaris réalisé par Andrei Tarkovsky. Dans « Technique cinématographique », je parle du rythme spécifique des scènes, du mouvement radical déclenché par Tarkovski dans le (...) cinéma moderne, du rôle des éléments symboliques et iconiques et des affinités avec le fantastique domaine de la littérature russe. Dans « Aspects psychologiques », j'analyse la question de la communication dans une société humaine de l'avenir considéré par Tarkovski comme rigide, de l'obsession de la maison et de l'évolution personnelle de Kris, Hari et de leurs relations. Dans « Aspects philosophiques », le film est analysé à travers la philosophie de l’esprit (dualisme cartésien, réductionnisme et fonctionnalisme), le problème de l’identité personnelle, la théorie des espaces hétérotopiques développée par Michel Foucault et les interprétations sémantiques pouvant être déduites du film. J'analyse également la question de l'identité personnelle à travers la philosophie de Locke. Les « Conclusions » montrent les idées générales de cet essai, à savoir que les tentatives de l'homme pour classer et maintenir des formes d'interaction avec des entités inconnues seront toujours condamnées à l'échec et refléteront une erreur majeure du monde panoptique dans lequel nous vivons. Dans ce cadre d'analyse de la philosophie de l'esprit, le fonctionnalisme semble être le plus intuitif. Solaris est toutefois un film qui commence par une recherche de réponses et vient apporter à ces réponses toute une gamme de questions différentes. -/- SOMMAIRE: -/- Abstract Introduction 1 Technique cinématographique 2. Aspects psychologiques 3. Aspects philosophiques Conclusions Bibliographie Notes -/- DOI: 10.13140/RG.2.2.20367.53929 . (shrink)

Tarkovsky s’est opposé au montage et a considéré que la base de l’art cinématographique (l’art du film) est le rythme interne des images. Il a considèré le cinéma comme une représentation des courants distinctifs ou des ondes de temps, transmis dans le film par son rythme interne. Le rythme est au cœur du « film poétique ». Un rythme comme un mouvement dans le cadre (« la sculpture dans le temps »), pas comme une séquence d'images dans le temps. Le (...) temps passé dans le cadre exprime quelque chose de significatif et de vrai, qui dépasse les événements eux-mêmes et est reçu différemment par chaque spectateur. DOI: 10.13140/RG.2.2.30568.62727. (shrink)

Comentario de "Solaris" de Stanislav Lem.

Within science fiction the topic of ‘first contact’ is a popular theme. How will an encounter with aliens unfold? Will we succeed in communicating with them? Although such questions are present in the background of many science fiction novels, they are not always explicitly dealt with and even if so, often in a poor way. In this article, I will introduce a typology of five dominant types of solutions to the problem of first contact in science fiction works. The first (...) four solutions are the more dominant, but also the least interesting ones. There is a fifth category that addresses the question of first contact in a more interesting way, exemplified by the work of Stanisław Lem. This fifth option defines itself as a critique of the four previous categories, or of their shared assumption of what Lem (1967) has called ‘the myth of cognitive universality’. Lem is sceptical of the common optimism that first contact will always be successful. In books such as Solaris (1961), His Master’s Voice (1967) and Fiasco (1986), humanity makes first contact with an alien phenomenon, but fails to comprehend the phenomenon. Fundamentally, it will be argued that Lem’s work shows that in such an encounter we will typically not only lack the right answers to our questions, but that we also often lack the correct questions: we simply do not have the right categories or instruments to even recognize, let alone meaningfully interrogate, the alien phenomenon. The article ends with an exploration of the implications of Lem’s pessimism and whether it is the most plausible option for first contact. Moreover, the article will draw some lessons for philosophy of science, by exploring the parallel with the confrontation of novel or deviant phenomena in science. Lem’s work is helpful here because it succeeds in articulating what has not always been appreciated in the philosophy of science, namely that the right questions by which to interrogate scientific phenomena are not given, but that their articulation always requires work. (shrink)

Tarkovsky recognizes these differences, saying that there is a contradiction with Lem's initial idea, because he was interested in the problems of inner life, spiritual problems, so to speak, and Lem was interested in the collision between man and Cosmos. In an ontological sense of the word, in the sense of the problem of knowing and the limits of this knowledge - it is about that. Lem even said that mankind was in danger, that there was a crisis of knowledge (...) when man did not feels ... This crisis is growing, a snowball, takes the form of various human tragedies, including scientists. (shrink)

Tarkovsky opposed to the movie editing and considered that the basis of the art of cinematography (movie art) is the internal rhythm of images. He considers cinema as a representation of distinctive currents or time waves, transmitted in the film through its internal rhythm. Rhythm is at the heart of the "poetic film". A rhythm like a movement inside the frame ("sculpting in time"), not as a sequence of images in time. Time within the frame expresses something significant and true (...) that goes beyond the events itself, received differently by each spectator. The rhythm is not determined by the length of the sequences, but by the pressure of time passing through them. DOI: 10.13140/RG.2.2.11136.48642. (shrink)

Cursul va contine patru parti pe urmatoarele filme si lucrarile: I. Andrei Tarkovski: “Solaris”, “Calauza”, “Nostalghia”, “Sacrificiul” - Friedrich Nietzsche si “eterna reintoarcere” - Mircea Eliade si “eterna reintoarcere” II. Wong Kar-wai: “In the mood for love”, “2046” III. Cristi Puiu: “Sieranevada” IV. Constantin Brancusi: Ansamblul de la Targu Jiu + sculpturile principale (Pasarea in zbor, Mlle Pogany, etc.).