This essay develops a critical interpretation of Gadamer’s account of Renaissance painting. My point of departure is a brief reference in Truth and Method to Leon Battista Alberti, the Italian Renaissance humanist who developed an influential mathematical theory of perspective in painting. Through an explication of Gadamer’s critique of Alberti and of perspective generally, I argue that what is ultimately at stake in Gadamer’s confrontation with Alberti is Gadamer’s opposition to relativism and subjectivism and his downgrading (...) of the importance of the artistic medium for evaluating the truth-claim of an artwork. Against the theory of perspective, Gadamer contends that artworks make substantive claims to truth to which we interpretatively respond. By emphasizing this theme, our discussion resonates with contemporary “hermeneutical realism.”. (shrink)

A work of Vietnamese art crossed a million-dollar mark in the international art market in early 2017. The event was reluctantly seen as a sign of maturity from the Vietnamese art amidst the many existing problems. Even though the Vietnamese media has discussed the issues enthusiastically, there is a lack of literature from the Vietnamese academics examining the subject, and even rarer in from the market perspective. This paper aims to contribute an insightful perspective on the Vietnamese art (...) market, and hesitantly the Vietnamese art as well, through the lens of fake, forgery and copy artworks. 35 cases of fake, forgery and copy paintings were found on the news and from the experts' wisdom. Through the examples, we argue that the Vietnamese art market is a temporary reaction to the immaturely rising of the Vietnamese art and the economy. Therefore, the art market is unable to function healthily unless the Vietnamese art and the economy developed. (shrink)

A work of Vietnamese art crossed the million-dollar mark in the international art market in early 2017. The event was reluctantly seen as a sign of maturity for Vietnamese art amidst many problems. Even though the media in Vietnam has discussed the problems enthusiastically, there is a lack of literature from Vietnamese academics on the subject, especially from the market perspective. This paper aims to contribute an insightful perspective on the Vietnamese art market through the lens of art (...) frauds. Thirty-five cases of fraudulent paintings were found on the news and in stories told by art connoisseurs. The qualitative analysis of the cases has shown that the economic value of Vietnamese paintings remains high despite the controversial claims about their authenticity. Here, the Vietnamese authority seems indifferent to the problem of art frauds, which make the artists more powerless. While the involvement of foreign actors in the trading of Vietnamese art does not reduce the intensity of the problem, it seems to continue to drive the price higher. The results have implications on the system of art in Vietnam, the current state of art theft in Vietnam, and the perception of Vietnamese people on art. (shrink)

What do we see in a mirror? There is an ongoing debate whether mirrors present us with images of objects or whether we see, through the mirror, the objects themselves. Roberto Casati has recently argued that there is a categorical difference between images and mirror-reflections. His argument depends on the observation that mirrors, but not paintings, are sensitive to changes in the observer’s prospective. In our paper we scrutinize Casati’s argument and present a modal argument that shows that it cannot (...) establish this conclusion. We suggest that Casati’s line of reasoning suffers from the fact that he does not take dynamic images, i.e., images that change over time, into account. (shrink)

my goal here is to provide a detailed analysis of the methods of inference that are employed in De prospectiva pingendi. For this purpose, a method of natural deduction is proposed. the treatise by Piero della Francesca is a manifestation of a union between the ne arts and the mathematical sciences of arithmetic and geometry. He de nes painting as a part of perspective and, speaking precisely, as a branch of geometry, which is why we nd advanced geometrical (...) exercises here. (shrink)

Anti-cognitivism is best understood as a challenge to explain how works of fictional narrative can add to our worldly knowledge. One way to respond to this challenge is to argue that works of fictional narrative add to our knowledge by inviting us to explore, in the imagination, the perspectives or points of view of others. In the present paper, I distinguish two readings of this thesis that reflect two very different conceptions of “perspective”: a first understanding focuses on what (...) the world looks like from a subjective point of view. Within this framework, we can distinguish approaches that focus on the subjective character of experience from others that explore the nature of subjectivity. I will argue that both strands can be successful only if they acknowledge the de se character of imagining. The second conception understands perspective as a method of representing. To illustrate it, I will look back to the invention of linear perspective in Renaissance painting. I will argue that the definition of perspective as a rule-guided method or technique can shed new light on the thesis that works of narrative fiction are particularly suited to display other perspectives. (shrink)

In the paper I am concerned with various manifestations of aesthetic fear and anxiety, that is, fear and anxiety triggered by works of art, which I am discussing from aesthetic as well as anthropological perspectives. I am analysing the link between fear and pleasure in catharsis, in Edmund Burke’s notion of the sublime, and in reference to Goya’s Black Paintings and to Paul Virilio’s thought. Both aesthetic fear and aesthetic anxiety exist alongside other emotions, such as pity and sadness, and, (...) most notably, with pleasure which is autonomous or arises from the fascination with evil. (shrink)

Our Universe is dotted with over 100 billion galaxies, and each one contains roughly 100 billion stars. It is unclear how many planets are orbiting these stars, but it is certain that at least one of them has evolved life. In particular, there is a life form that has had the capacity and audacity to speculate about the origin of this vast universe2. Humans have been staring up into space for thousands of generations, to have a rational and coherent description (...) for the creation and evolution of the universe. Bhagat Kabir, a saint-poet of Sri Guru Granth Sahib raises a very pertinent question in this regard; ਓਇ ਜੁ ਦੀਸਹਿ ਅੰਬਰਿ ਤਾਰੇ ॥ ਕਿਨਿ ਓਇ ਚੀਤੇ ਚੀਤਨਹਾਰੇ ॥ ੧ ॥ ਕਹੁ ਰੇ ਪੰਡਿਤ ਅੰਬਰੁ ਕਾ ਸਿਉ ਲਾਗਾ ॥ ਬੂਝੈ ਬੂਝਨਹਾਰੁ ਸਭਾਗਾ ॥ (ਗਉੜੀ ਕਬੀਰ ਜੀ, ਸਗਗਸ, p 329) The stars which are seen in the sky , who is the painter who painted them? ||1|| Tell me, O Learned person, what is the sky attached to? Very fortunate is the person who knows this. (Gauree, Kabir Ji, SGGS, p 329) Gurbani offers an elegant explanation of the origin and creation of the universe, making it one of the greatest achievements of human intuition, intellect and spirit. It is the consequence of an insatiable curiosity, a fabulous imagination, keen observation and logical thinking. Guru Nanak, the first Sikh Guru, in his hymns of Jap(u), Aasa di Var, Sidh Gosht and Maru Sohilé, and Guru Arjan Dev, the fifth Sikh guru, in his hymns of Gauree Sukhmani have enunciated incredible understanding of the mystery of creation. It is fascinating to note that some of the concepts/ideas expressed in these hymns were not known to modern science until the eighteenth century. In this way, one can safely observe that the Sikh Gurus’ ideas were the forerunner of the modern scientific tradition. The ideas about the physical world (Creation), as presented in these hymns and discussed hereafter, might help us to confirm the above premise. (shrink)

Carel Fabritius left behind few but important works of art. We are concerned here with the View in Delft, and attempt to make two points about it. The first is that this small painting manages to break away from the classical perception of perspective, an endeavor informed mostly by new findings in the field of optics of the time. The second point, theoretically related to the first, stresses compositional elements that would bring View in Delft closer to a (...) meditation on the fleetingness of life, making it a "town-scape" vanitas. (shrink)

We propose an extension of Discourse Respresentation Theory (DRT) for analyzing pictorial narratives. We test drive our PicDRT framework by analyzing the way authors represent characters’ mental states and perception in comics. Our investigation goes beyond Abusch and Rooth (2017) in handling not just free perception sequences, but also a form of apparent perspective blending somewhat reminiscent of free indirect discourse.

Should we think of our universe as law-governed and “clockwork”-like or as disorderly and “soup”-like? Alternatively, should we consciously and intentionally synthesize these two extreme pictures? More concretely, how deterministic are the postulated causes and how rigid are the modeled properties of the best statistical methodologies used in the biological and behavioral sciences? The charge of this entry is to explore thinking about causation in the temporal evolution of biological and behavioral systems. Regression analysis and path analysis are simply explicated (...) with reference to a thought experiment of painting three universes (clockwork, soup, and conscious) useful for imagining our actual universe. Attention to historical, structural, and mechanistic explanatory perspectives broadens the palette of methodologies available for analyzing determinism in, and explanation of, biological and behavioral systems. Each justified methodology provides a partial perspective on complex reality. Is a total explanation of any system ever possible, and what would it require? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Mother-Daughter Relations and the Maternal in Irigaray and ChodorowAlison StoneGod the Father and Jesus the Son; Abraham and Isaac; Uranus, Cronus, and Zeus; Zeus and Dionysus; Hamlet and his father; Fyodor Karamazov and his three sons—representations of and fantasies about father-son relationships are central to Western culture and philosophy. Within philosophy, one thinks of Hegel’s conception of the dialectic in terms of the divine trinity, Nietzsche’s preoccupation with Christ (...) and Dionysus, or Kierkegaard’s meditations on Abraham’s near-murder of Isaac. In contrast, mother-daughter relationships have been shrouded in near-universal silence—much more so than representations of either mothers and sons (Oedipus and Jocasta; Mary and Jesus) or fathers and daughters (Agamemnon and Iphigenia; Lear and Cordelia). Female and feminist theorists, writers, and artists have done much to bring mother-daughter relationships into representation and to reimagine the maternal beyond its traditional subservience to father-son dynasties.Amongst continental feminists, Luce Irigaray and Julia Kristeva have, of course, made major contributions to this task. Within Anglophone feminism, too, feminist psychoanalytic thinkers have sought to rectify Freud’s overemphasis on the paternal and on father-son relations. Nancy Chodorow’s important work in this area paints a portrait of contemporary mother-daughter relations which seems, at first sight, strikingly similar to Irigaray’s. Both thinkers suggest that mothers and their infant daughters experience a unique level of mutual identification. But under patriarchy—specifically, given exclusively female childrearing for Chodorow and given the absence of any symbolization of female subjectivity for Irigaray—daughters are forced to turn to the father [End Page 45] to achieve any psychical independence from their mothers. The independence that daughters thus attain coexists with ongoing psychical identification with their mothers, so that women oscillate endlessly between separation from and mergence with their mothers. If the dominant template for father-son relations involves violent rivalry followed by guilt-ridden father-worship as the cement of fraternal society, as Freud described in Totem and Taboo (Freud 2001), the template for mother-daughter relations involves hostile separation constantly undone by ongoing fusion. This difference in templates maps the social-symbolic difference between the paternal position of power/authority/law and the maternal position of powerlessness/silence/body.However, the manifest similarities between Irigaray’s and Chodorow’s pictures are embedded in deep theoretical differences. The details of their descriptions of mother-daughter relations differ, and they give different explanations for why these relations follow a logic of separation and fusion: female mothering for Chodorow, the paternal symbolic order for Irigaray. They make different proposals for how to change these relations: shared parenting for Chodorow versus symbolic transformation for Irigaray. They hold conflicting conceptions of the self and of language, reflecting their heterogeneous psychoanalytic backgrounds in Anglo-American object relations versus French Lacanianism and poststructuralism. These deep differences raise questions about whether Chodorow and Irigaray are discussing mother-daughter relations in the same sense at all.Bringing Irigaray and Chodorow together across their different intellectual contexts, this article compares and partially synthesizes their visions of the maternal and of mother-daughter relations. By integrating their perspectives, we can move beyond the “impasse” between Lacanian and object-relations feminisms that dominated psychoanalytic feminist debates in the 1980s and 1990s (Brennan 1991)—debates that have crucially shaped continental feminists’ orientation towards questions of sexual difference, language and representation, and the embodied psyche.The impasse in question has at least two strands. First, for object-relations feminists such as Chodorow, our pre-Oedipal relations with our mothers shape us so that we acquire “core” selves with a fairly stable gender. This approach elevates the mother in importance (compared to classical psychoanalysis with its emphasis on the father), but it loses sight of psychic and gender instability. This can make Chodorow’s views seem rather dated given the impact of Judith Butler’s work and her emphasis on the unstable, shifting nature of gender. Lacanian feminists such as Jacquelyn Rose (Rose 1986) reemphasize psychic instability, but they do so by stressing that the subject is split between paternal language and the pre-Oedipal maternal realm, which means that these theorists also... (shrink)

The mask's role is central to the superhero narrative. The mask is a non-human identity, which replaces the civilian, human one; sometimes forever. It is what happens to the majority of Gotham's villains. While Batman can take off his mask and at least pretend to be Bruce Wayne, many of his enemies do not have the same privilege. For characters like Two-Face, Joker, Zsasz, and Clayface, the mask is carved directly into their bodies. Like masks, scars can replace one's identity, (...) but deeply and sometimes irreversibly. Bodies and masks play a central role in ancient primitive cultures, especially during initiation rituals. The two elements are distinct, but closely linked. Wearing a mask always implies a modification of the body, or at least of the way it is perceived. Furthermore, marks left on the body, whether temporary like a face paint or definitive like a tattoo, perform a similar function to that of the mask: they replace the individual's identity and communicate a message. The initiation ceremonies destroy a previous identity to create a new one. While an individuum is a Leib, a living body that is becoming and escapes an ultimate meaning, by inflicting pain and scars, the initiation rituals aim to reduce the body to a stable dimension. First an ecstasy, induced by drugs and fasting, and through the infliction of physical pain, shatters the previous identity. The Leib is reduced to the passivity of flesh. Then a new identity is literally written on the body through scars or tattoos, thus receiving an "ultimate" sense and giving him/her a role and a place within society. The scar is a new identity, like a mask carved directly on the body. (shrink)

Integrative and naturalistic philosophy of mind can both learn from and contribute to the contemporary cognitive sciences of dreaming. Two related phenomena concerning self-representation in dreams demonstrate the need to bring disparate fields together. In most dreams, the protagonist or dream self who experiences and actively participates in dream events is or represents the dreamer: but in an intriguing minority of cases, self-representation in dreams is displaced, disrupted, or even absent. Working from dream reports in established databanks, we examine two (...) key forms of polymorphism of self-representation: dreams in which I take an external visuospatial perspective on myself, and those in which I take someone else's perspective on events. In remembering my past experiences or imagining future or possible experiences when awake, I sometimes see myself from an external or 'observer' perspective. By relating the issue of perspective in dreams to established research traditions in the study of memory and imagery, and noting the flexibility of perspective in dreams, we identify new lines of enquiry. In other dreams, the dreamer does not appear to figure at all, and the first person perspective on dream events is occupied by someone else, some other person or character. We call these puzzling cases 'vicarious dreams' and assess some potential ways to make sense of them. Questions about self-representation and perspectives in dreams are intriguing in their own right and pose empirical and conceptual problems about the nature of self-representation with implications beyond the case of dreaming. (shrink)

It is with great enthusiasm that Editora Contemporânea presents "Culture and Identity: Perspectives on the Human Sciences -1st Edition". This book is a profound and thought-provoking exploration of the intersection between culture and identity in contemporary society, offering an innovative look at themes that shape our understanding of the world. Culture and identity play fundamental roles in the complex web of society. More than mere concepts, they are living forces that shape our interactions, perceptions, and the very fabric of society. (...) This book highlights the intrinsic importance of these elements in constructing meanings, and connections and shaping the rich tapestry of human diversity. In an era marked by globalization and interconnectedness, understanding cultural dynamics and the nuances of identity becomes essential. "Culture and Identity: Perspectives in the Humanities" offers crucial insights into meeting contemporary challenges, promoting intercultural dialogues, addressing issues of inclusion, and recognizing the complexities of individual and collective identities. This volume not only critically analyzes cultural and identity issues, but also sheds light on the prospects of humanities research. From investigations into changing identities to analyses of cultural influences on community formation, the contributions in this book pave the way for new approaches and reflections in academia. We express our sincere gratitude to the dedicated contributors who made this first edition possible. Each author has brought a unique and valuable insight, enriching the dialog on culture and identity in the human sciences. Their collective efforts have resulted in a work that inspires and challenges, contributing to a profound understanding of human complexity. We invite readers to delve into the pages of this unique work. Discover the multifaceted perspectives on culture and identity that this book offers. May it inspire reflections, dialogues, and actions that promote a deeper and more inclusive understanding of human diversity. Editora Contemporânea thanks you for joining us on this journey of intellectual exploration and discovery. -/- . (shrink)

Perspective reconciles the jump between understanding an individual’s conciseness exists and understanding the possibilities of something else. The reconciliation follows that in a universe within the mind there is no line between falsity and fact, and thus everything must be true; as we live in every mind, every thought must be true; if every thought is true, its validity is before its fallacies; validity first spurs better living. With validity first, working backward, it can be discerned that even if (...) the universe is material, reality lies in an otherwise magical mind. --Discussion and imagination should be valued given what we know about the universe--... Admittedly, the tone of perspective is more that of a manifesto than a pure argument, so the implications to life are more defined in their exploration, as opposed to the argument which come together gradually through the paper. (shrink)

Authors Alexander Eick Abstract Perspective reconciles the jump between understanding an individual’s conciseness exists and understanding the possibilities of something else. The reconciliation follows that in a universe within the mind there is no line between falsity and fact, and thus everything must be true; as we live in every mind, every thought must be true; if every thought is true, its validity is before its fallacies; validity first spurs better living. With validity first, working backward, it can be (...) discerned that even if the universe is material, reality lies in an otherwise magical mind. --Discussion and imagination should be valued given what we know about the universe--. (shrink)

In the present book, the starting line is defined by a morphogenetic perspective on human communication and culture. The focus is on visual communication, music, religion (myth), and language, i.e., on the “symbolic forms” at the heart of human cultures (Ernst Cassirer). The term “morphogenesis” has more precisely the meaning given by René Thom (1923-2002) in his book “Morphogenesis and Structural Stability” (1972) and the notions of “self-organization” and cooperation of subsystems in the “Synergetics” of Hermann Haken (1927- ). (...) The naturalization of communication and cultural phenomena is the favored strategy, but the major results of the involved disciplines (art history, music theory, religious science, and linguistics) are respected. Visual art from the Paleolithic to modernity stands for visual communication. The present book focuses on studies of classical painting and sculpture (e.g., Leonardo da Vinci, William Turner, and Henry Moore) and modern art (e.g., Jackson Pollock and Joseph Beuys). Musical morphogenesis embraces classical music (from J. S. Bach to Arnold Schönberg) and political songwriting (Bob Dylan, Leonhard Cohen). The myths of pre-literary societies show the effects of self-organization in the re-assembly (bricolage) of traditions. Classical polytheistic and monotheistic religions demonstrate the unfolding of basic germs (religious attractors) and their reduction in periods of crisis, the self-organization of complex religious networks, and rationalized macro-structures (in theologies). Significant tendencies are analyzed in the case of Buddhism and Christianism. Eventually, a holistic view of symbolic communication and human culture emerges based on state-of-the-art in evolutionary biology, cognitive science, linguistics, and semiotics (philosophy of symbolic forms). (shrink)

Finishing this essay exactly one year after the official arrival of the SARS-COV-2 virus in Belgium and the Netherlands—where the cartographers of this essay are currently located—it is safe to say that the COVID-19 pandemic has immensely impacted our day-to-day lives. The pandemic has not only forced us to question various taken-for-granted existential certainties and luxuries provided by a capitalist system out to destroy the earth but has also re-spotlighted post-Enlightenment critiques of the human subject. If these pandemic times are (...) indeed more-than-human, then the clock is ticking for the discipline of philosophical anthropology to face these post-anthropological facts and receive what feminist science studies scholar Donna J. Haraway has aptly called a thorough dose of “epistemological electroshock therapy” (1988, p. 578). Taking Haraway’s foregoing call and the idea of thinking-with the (end of the) Anthropocene seriously, we construct a critical cartography of Emmanuel Levinas’ take on philosophical anthropology in dialogue with other major philosophical anthropologists and feminist new materialists while arguing for a post-anthropology for the Chthulucene. (shrink)

Techne and Truth. The problem of techne in the dispute between Gorgias and Plato -/- The source of the problem matter of the book is the Plato’s dialogue „Gorgias”. One of the main subjects of the discussion carried out in this multi-aspect work is the issue of the art of rhetoric. In the dialogue the contemporary form of the art of rhetoric, represented by Gorgias, Polos and Callicles, is confronted with Plato’s proposal of rhetoric and concept of art (techne). The (...) ingenuous and dramatic structure of the dialogue composed of three acts, in each of which Socrates’ consecutive interlocutors emerge, is difficult to interpret. It seems, however, that even though the first conversation between Socrates and Gorgias constitutes a small part of the dialogue, it forms the foundations for the discussion. This part, dealing with such important issues as the subject of art, knowledge, power and relation between art and good, is the starting point for the conversations which follow. What do the differences between the Gorgias’ and Plato’s concepts of art consist in? Any attempt to answer the question requires presentation of the background for the discussion taking place in Plato’s work as well as the reconstruction of Gorgias’ vision of the art of rhetoric and art in general, defining the relation between art and knowledge. The latter may be undertaken on the basis of two paraphrases of the treatise “On Non-existence”, two epideictic speeches entitled “Helen” and “Palamedes” and some smaller fragments which have been preserved from Gorgias’ creative output. The treatise “On Non–existence”, very paradoxical in its philosophical meaning, testifies to new, sophistic thinking represented by Gorgias of Leontinoi. The treatise is the polemic and attack on Eleatism based on certain principles and methods elaborated by the Eleatics themselves. It also shows that Gorgias – using traditional Eleatic schemes – is opposed to this tradition. Even though the treatise does not discuss the problem of art directly, it anticipates the considerations from epideictic speeches. “Helen” and “Palamedes” constitute further stages in the development of Gorgias’ thought and concept of art combining typically epideictic elements with some philosophical convictions. Gorgias refers to the Eleatic theme considering the issues of truth, knowledge and belief, yet defining them in the empirical spirit. Solutions in the cognitive sphere determine the horizon of Gorgias’ rhetoric. The word is separated from the existence. Human cognition is limited and therefore the word and visual images affect the belief. This promotes the great importance of rhetoric, painting and sculpture, i.e. the areas which influence in a specific way – creating the “delusion” (ἀπάτη). Through idealization art provides pleasure, which is its objective. Therefore the task of art is to create delusion. The rhetor of Leontinoi discusses the issue of “how?” to use the word ‘rhetoric’. Gorgias is aware that rhetoric may be used to talk about what is unknown and that technical correctness of a rhetoric statement is not identical with the truthfulness of the proclaimed message. Mentioning it, Gorgias shows his respect to the truth as a value which should be respected in speech on the one hand, and on the other emphasizes that the truth in itself has no persuasive power. For this reason it is not enough to proclaim the truth, but, to convince the listeners, the orator should possess the skill of speaking. What is then the relation between truth and art emerging from epideictic speeches? Gorgias undoubtedly emphasizes the formal aspect of speech, as rhetoric is art, thus an ability based on certain principles. According to Gorgias, the truth is the value which should be respected in speeches. Rhetoric is able to create a fictive world, as a great range of reality remains outside direct human experience. Rhetoric does not oppose the truth but discussing not only what is directly given concerns the area outside the sphere of direct experience. This concept of rhetoric is the basis of the discussion about art carried out in the dialogue “Gorgias”. Even though the first of the discussions in the dialogue – the conversation between Socrates and Gorgias – is directly concerned with rhetoric itself, numerous remarks testify to its much wider character. This is best exemplified by the way of carrying out the conversation by Socrates, who, asking questions about rhetoric practised by Gorgias, throughout the whole conversation compares it with other skills. Additionally, the manner and the structure of the conversation prove that Plato considers the issue of rhetoric from a wider perspective determined by the issue of art. The specific feature of the conversation is ordering it around main issues – such notions as πρᾶγμα, ἐπιστήμη, δύναμις, each of which has its own meaning in Plato. In the first part of Gorgias Plato presents the principles previously occurring in other dialogues in a certain order, thus constructing the structure of the conversation with Gorgias. The notions are not novum in Plato but the fact that he clearly wants to systematise them and present a certain concept of art is a new and significant aspect. This tendency is of paramount importance for the discussion because Gorgias’ answers are evaluated by Plato from the perspective of this clearly set concept consisting of not only established notions but also certain principles. The discussion between Socrates and Gorgias introduces a theme which is crucial for the dialogue: the relation between art and good, i.e. the technical and ethical spheres. The issue is introduced by Gorgias, who mentions that rhetoric may be used for evil purposes. On this basis Socrates proves that if rhetoricians can use rhetoric for evil purposes, they have no knowledge concerning the subject of their art – justice, because one who knows what is just, always acts justly. Thus the relation between the technical and ethical spheres transpires to be the main point of contention. The question is whether a technician following the principles of the art he practices may act against good. This paradoxical statement based on the well-known Socrates’ principle "nemo sua sponte peccat" acquires philosophical foundations in the dialogue. In its remaining two parts Plato presents a justification, placing the principle within the framework of a certain concept of art, as a result of which not only rhetoric but also many other skills are criticised. The notions on which the conversation with Gorgias focuses are more precisely defined in the subsequent parts of the dialogue. Additionally, Plato presents twice the conditions which art should fulfill. They oblige the “technicians” to know the nature and purpose of the art and to know the causes of undertaken activities and to be able to justify them. These conditions determine the relation between the two spheres – technical and ethical. According to Plato, art may not act against good because it should be the objective of its activities. Certain concepts of good and knowledge outlined in the dialogue are the guarantees of “technicality”. Good, which should be respected by every art, is understood objectively and is contrasted with subjective pleasure. Knowledge, which should be the basis of art, opposes experience, which uses observation and recollection. Additionally, the definition of knowledge, significance of order in the world assuming the form of “geometrical equality”, significance of mathematics becoming the ideal of exactness indicate that Plato’s concept of knowledge is formed in Gorgias. These conclusions render it impossible that the results of any activity deserving the name of art should oppose good. And this is Plato’s main reproach of Gorgias’ concept, who wrote about false speeches possessing the power of conviction because they were written according to the principles proof of art or who defined tragedy as “a deceit, where he who cheats is more just than he who does not and the cheated is wiser than he who was not cheated”. Such determination of the relation between the technical and ethical sphere resulted from Gorgias’ concept of the world and fundamental philosophical principles. The whole concept of art described by Plato in the dialogue opposes the view presented by Gorgias. According to Plato, every technical activity has a defined object (ἔργον), is based on knowledge (ἐπιστήμη) and is always aimed at the good of human soul or body. The danger revealed and presented in the dialogue by Plato exists in the very concept of art presented by Gorgias, i.e. in its empirical foundations and the resulting understanding of the relation between art and good. Gorgias’ concept of art based on empirical cognition, which concerns the world of phenomena and rejects the possibility of perfect knowledge, leads, according to Plato, to a dangerous falsification of the relation between art and good. Plato proves that this weakness of Gorgias’ concept is revealed when confronted with these representatives of “the magnificent art” who are not protected against radicalism by the adherence to the moral tradition. The comparison of two, completely contrasting concepts of art based on different philosophical understanding of knowledge and good is decisive for the criticism of rhetoric in Gorgias. The concept presented by Plato criticises contemporary rhetoric and sophistry but determines the direction of research of the real art of rhetoric. (shrink)

I investigate how theoretical assumptions, pertinent to different perspectives and operative during the modeling process, are central in determining how nature is actually taken to be. I explore two different models by Michael Turelli and Steve Frank of the evolution of parasite-mediated cytoplasmic incompatility, guided, respectively, by Fisherian and Wrightian perspectives. Since the two models can be shown to be commensurable both with respect to mathematics and data, I argue that the differences between them in the (1) mathematical presentation of (...) the models, (2) explanations, and (3) objectified ontologies stem neither from differences in mathematical method nor the employed data, but from differences in the theoretical assumptions, especially regarding ontology, already present in the respective perspectives. I use my "set up, mathematically manipulate, explain, and objectify" (SMEO) account of the modeling process to track the model-mediated imposition of theoretical assumptions. I conclude with a discussion of the general implications of my analysis of these models for the controversy between Fisherian and Wrightian perspectives. (shrink)

In the present paper, on the basis of the theory of production principles and production revolutions, we reveal the interrelation between K-waves and major technological breakthroughs in history and make some predictions about features of the sixth Kondratieff wave in the light of the Cybernetic Revolution which, we think, started in the 1950s. We assume that the sixth K-wave in the 2030s and 2040s will merge with the final phase of the Cybernetic Revolution (which we call the phase of self-regulating (...) systems). This period will be characterized by breakthroughs in medical technologies which will manage to combine many other technologies into a single complex of MBNRIC-technologies (med-bio-nano-robo-info-cognitive technologies). The article offers some predictions concerning the development of these technologies. (shrink)

In De visione Dei’s preface, a multidimensional, embodied experience of the second-person perspective becomes the medium by which Nicholas of Cusa’s audience, the benedictine brothers of Tegernsee, receive answers to questions regarding whether and in what sense mystical theology’s divine term is an object of contemplation, and whether union with God is a matter of knowledge or love. The experience of joint attention that is described in this text is enigmatic, dynamic, integrative, and transformative. As such, it instantiates the (...) coincidentia oppositorum and docta ignorantia which, for Cusa, alone can give rise to a vision of the infinite. (shrink)

Song Dynasty, revival of Confucianism,Women oppression.

This chapter provides an outline of consent in the history of medical ethics. In doing so, it ranges over attitudes towards consent in medicine in ancient Greece, medieval Europe and the Middle East, as well as the history of Western law and medical ethics from the early modern period onwards. It considers the relationship between consent and both the disclosure of information to patients and the need to indemnify physicians, while attempting to avoid an anachronistic projection of concern with patient (...) autonomy too far back into the historical record. The chapter also includes a survey of the development of the social and intellectual infrastructure that underpins modern medical consent. It concludes with a brief discussion of possible future directions for ethical approaches to medical consent and competence that would depart from the models that arose in the twentieth-century. (shrink)

This short essay introduces a set of articles I compiled for a special issue of the Journal of Chinese Philosophy in 2011. Most of the essays are revised versions of papers originally presented at the "Kant in Asia" international conference on "The Unity of Human Personhood", held in Hong Kong in May of 2009, and subsequently published in the collection entitled Cultivating Personhood: Kant and Asian Philosophy (Berlin: Walter de Gruyter, 2010). After introducing the papers in the special issue, the (...) essay proposes an unconventional way of mapping the Yijing, according to four "levels of perspectives": 0 + 4 + 12 + (4x12) = 64. I predict that this new map can be used to demonstrate a one-to-one correspondence between the Yijing's 64 gua (hexagrams) and the basic principles of Kant's philosophy. (shrink)

This article is a study on Paul’s mystical experiences using an interpretive framework that relies on multiple grounds: Alfred Schutz’s phenomenology of the “multiple realities” applied to the problem of religion, political anthropology and general scholarship on Paul. The aim of this study is also multiple: I seek to draw an interpretive insight into those mystical experiences that have been traditionally attributed to Paul by using a hermeneutic lens provided by Schutzian phenomenology, to clarify this hermeneutic method as such and (...) explore its interpretive potential for the phenomenology of religion in general, and to interpret the results of this analysis from the reflexive-historical perspective of political anthropology. (shrink)

This paper addresses relations between memory and imagery in expert sport in relation to visual or visuospatial perspective. Imagining, remembering, and moving potentially interact via related forms of episodic simulation, whether future- or past-directed. Sometimes I see myself engaged in action: many experts report switching between such external visual perspectives and an internal, 'own-eyes', or field perspective on their past or possible performance. Perspective in retrieval and in imagery may be flexible and multiple. I raise a range (...) of topics for empirical research on perspective and visualization. (shrink)

Shun argues that the distinction made between emotions experienced from the first-person perspective and those from the third-person perspective does not capture our everyday emotional experience. My proposal is that even if we accept this claim, first- and third-person perspective taking is still crucial in the development of our emotional psychology. This is so in two respects. First, the features of intimacy and impartiality that mark adult emotional response are a product of a developmental process that involves (...) perspective taking. Second, perspective taking is a crucial part of refining and developing virtuous emotional responses. (shrink)

This paper presents an interpretation of the 1945 forbidden film Scarlet Street in a way so as to touch the problem of gender in film noir. Firstly, I give an account of film noir, agreeing with Robert Pippin’s argument concerning film genres. Then, I claim that time and repetition, irony and hierarchy, art and perspective constitute the core subjects explored in Scarlet Street. Furthermore, I try to connect all the subjects into a single one. My point is to show (...) how art, perspective, time, repetition, irony and hierarchy are articulated in the main character’s gender identity. Finally, I suggest there is a deep connection between the movie’s character constitution and Cavell’s understanding of gender and agency. (shrink)

The editorial introduces issue 21.1 of Technoetic Arts via a critical reflection on the artificial intelligence hype (AI hype) that emerged in 2022. Tracing the history of the critique of Large Language Models, the editorial underscores that the recent calls for slowing down the development of AI, as promoted by the technology industry, do not signify a shift towards reason and considerate economics. Instead, as these calls are firmly embedded in narratives where the power to decide for the majority of (...) humanity lies solely with the CEOs of AI companies, they are indicative of a relentless pursuit of economic interests. The technology industry has consistently downplayed criticism over the years. -/- While patterns of creative output can be replicated without a thorough understanding of underlying concepts, the editorial highlights the distinction between the current AI technology's reliance on extensive pre-existing human-generated data for pattern recognition and the performative process inherent in art practice. This performative process, as explored through the conceptual frameworks of creativity by Noam Chomsky, Charles Sanders Peirce, and Roger T. Ames and with reference to an earlier publication of the editorial's author, continually 'strives to extend itself towards the unknown.' -/- Following this introductory section, the editorial provides an overview of the ten articles featured in this issue of Technoetic Arts. The first four texts engage with emerging technologies from various perspectives in art and design. The subsequent six articles, part of a special section titled 'Perspectives from Chandigarh,' reflect a quest for meaningful existence within colonial, patriarchal, and biopolitical structures that frame everyday practices of exclusion and oppression. (shrink)

This study is intended to provide in-depth insights into how design thinking and creativity issues are understood and possibly evolve in the course of design discussions in a company context. For that purpose, we use the seminar transcripts of the Design Thinking Research Symposium 12 (DTRS12) dataset “Tech-centred Design Thinking: Perspectives from a Rising Asia,” which are primarily concerned with how Korean companies implement design thinking and what role designers currently play. We employed a novel method of information processing based (...) on constructed dynamic semantic networks to investigate the seminar discussions according to company representatives and company size. We compared the quantitative dynamics in two seminars: the first involved managerial representatives of four companies, and the second involved specialized designers and management of a design center of single company. On the basis of dynamic semantic networks, we quantified the changes in four semantic measures—abstraction, polysemy, information content, and pairwise word similarity—in chronologically reconstructed individual design-thinking processes. Statistical analyses show that design thinking in the seminar with four companies, exhibits significant differences in the dynamics of abstraction, polysemy, and information content, compared to the seminar with the design center of single company. Both the decrease in polysemy and abstraction and the increase in information content in the individual design-thinking processes in the seminar with four companies indicate that design managers are focused on more concrete design issues, with more information and less ambiguous content to the final design product. By contrast, specialized designers manifest more abstract thinking and appear to exhibit a slightly higher level of divergence in their design processes. The results suggest that design thinking and creativity issues are articulated differently depending on designer roles and the company size. (shrink)

Although the invariance criterion of logicality first emerged as a criterion of a purely mathematical interest, it has developed into a criterion of considerable linguistic and philosophical interest. In this paper I compare two different perspectives on this criterion. The first is the perspective of natural language. Here, the invariance criterion is measured by its success in capturing our linguistic intuitions about logicality and explaining our logical behavior in natural-linguistic settings. The second perspective is more theoretical. Here, the (...) invariance criterion is used as a tool for developing a theoretical foundation of logic, focused on a critical examination, explanation, and justification of its veridicality and modal force. (shrink)

Purpose – The purpose of this paper is to assess the impact of smallholder supply chains on sustainable sourcing to answer the question how food and agribusiness multinationals can best include smallholders in their sourcing strategies and take social responsibility for large-scale sustainable and more equitable supply. A sustainable smallholder sourcing model with a list of critical success factors (CSFs) has been applied on two best-practise cases. In this model, business and corporate social responsibility perspectives are integrated. Design/methodology/approach – The (...) primary data of the value chain analyses of the two smallholder supply chains of a food and agribusiness multinational have been applied. Both cases were of a join research program commissioned by the multinational and a non-governmental organization using the same methods and research tools. Similarities, differences and interference between the cases have been determined and assessed in order to confirm, fine tune or adjust the CSFs. Findings – Both cases could be conceptualized through the smallholder sourcing model. Most CSFs could be found in both cases, but differences were also found, which led to fine tuning of some CSFs: building of a partnership and effective producers organization, providing farm financing and the use of cross-functional teams in smallholder supplier development programs. It was also concluded that the smallholder sourcing model is applicable in different geographical areas. Research limitations/implications – The findings of this study are based on just two cases. More best-practise cases are recommended in order to confirm or to adjust the developed sourcing model and the CSFs. Originality/value – This paper/research fills the need in sustainable supply chain management literature to study supply chains that comply with the triple bottom line concept, rather than supply chains that are just more “green.” Keywords Small- to medium-sized enterprises, Food products, Supply chain management, Developing countries, Business development, Food industry, Commodity markets Paper type Research pape. (shrink)

Many enthusiasts of theistic evolution willingly accept Aquinas’s distinction between primary and secondary causes, to describe theologically “the mechanics” of evolutionary transformism. However, their description of the character of secondary causes in relation to God’s creative action oftentimes lacks precision. To some extent, the situation within the Thomistic camp is similar when it comes to specifying the exact nature of secondary and instrumental causes at work in evolution. Is it right to ascribe all causation in evolution to creatures—acting as secondary (...) and instrumental causes? Is there any space for a more direct divine action in evolutionary transitions? This article offers a new model of explaining the complexity of the causal nexus in the origin of new biological species, including the human species, analyzed in reference to both the immanent and transcendent orders of causation. (shrink)

An introduction to the special issue of the Journal “Forum Philosophicum” that contains nine studies dealing with a cluster of metaphysical questions of cross-cultural importance: H. Watzka, “A new realistic spirit: the analytical and the existential approaches to ontology”; P. Gilbert, “Voilà pourquoi je ne suis pas ‘ontologue’; P. Favraux, “La pertinence de l’ontologie pour la théologie”; E. Charmetant, "Naturalisme contemporain et ontologie humaine : vers un essentialisme différent"; J. Bremer, "Aristotle on touch”; T. Walsh, "Bonum est causa mali: a (...) problem and an opportunity for metaphysics in the thought of Thomas Aquinas and Hegel”; A. J. Carroll, “Disenchantment, rationality and the modernity of Max Weber”; G. Karuvelil, “Religious experience: reframing the question”; L. Caruana “Universal claims”. (shrink)

Disability laws are crucial in ensuring a life of dignity for persons with disabilities. However, they remain limited and ineffective in the absence of adequate knowledge and awareness of the experiences with disability. The limitedness of disability laws has been spoken of in cases where the full realization of rights is subject to technological, philosophical, and market dynamics. In many cases, the law is also weakened by negative cultural beliefs and social perceptions of disability. And then there are cases where (...) disability laws perpetuate or tolerate oppression and violence. Despite their limitedness, disability laws offer normative content to facilitate engagement and critique for reform. In terms of what disability laws ‘ought’ to be, scholars write, that they should be about disabled people and the meanings provided by them. This objective has and can be fulfilled with the aid of disability studies that go beyond the inquiries of law with the right kind of research tools to theorize and re-theorize concepts and meanings about disability. Disability studies, in other words, represent the living conditions of disabled persons and the questions of how disability and/or impairment should be defined. This chapter examines the interaction between disability law and disability studies through the prism of the Convention on the Rights of Persons with Disabilities (CRPD). While discussing the models of disability (medical, social, human rights, and relational-community models) and agendas for reforming the CRPD, the chapter highlights the importance of new concepts and approaches. Further, the potential of disability laws, CRPD in particular, has been discussed keeping in mind the application of its core principles across different sectors (with a special focus on the Marrakesh treaty and copyright laws). (shrink)

Islam is not a mono-dimensional religion, therefore studying Islam with all its aspects is not enough with the scientific method, ie philosophical, human, historical, sociological methods. Likewise, understanding Islam with all its aspects can not be-be doctrinaire. A scientific and doctrinal approach should be used together (Scientific Cum Doctrine).

The Simulation Hypothesis proposes that all of reality is in fact an artificial simulation, analogous to a computer simulation. Outlined here is a method for programming relativistic mass, space and time at the Planck level as applicable for use in Planck Universe-as-a-Simulation Hypothesis. For the virtual universe the model uses a 4-axis hyper-sphere that expands in incremental steps (the simulation clock-rate). Virtual particles that oscillate between an electric wave-state and a mass point-state are mapped within this hyper-sphere, the oscillation driven (...) by this expansion. Particles are assigned an N-S axis which determines the direction in which they are pulled along by the expansion, thus an independent particle motion may be dispensed with. Only in the mass point-state do particles have fixed hyper-sphere co-ordinates. The rate of expansion translates to the speed of light and so in terms of the hyper-sphere co-ordinates all particles (and objects) travel at the speed of light, time (as the clock-rate) and velocity (as the rate of expansion) are therefore constant, however photons, as the means of information exchange, are restricted to lateral movement across the hyper-sphere thus giving the appearance of a 3-D space. Lorentz formulas are used to translate between this 3-D space and the hyper-sphere co-ordinates, relativity resembling the mathematics of perspective. (shrink)

‘Spirit consonance engendering a sense of life’ (Qi Yun Sheng Dong) as the first law of Chinese painting, originally proposed by Xie He (active 500–535?) in his six laws of painting, has been commonly echoed by numerous later Chinese artists up to this day. Tracing back the meaning of each character of ‘Qi Yun Sheng Dong’ from Pre-Qin up to the Six Dynasties, along with a comparative analysis on the renderings of ‘Qi Yun Sheng Dong’ by experts in (...) Western academia, I establish ‘spirit consonance’ as the rendering of ‘Qi Yun’. By examining texts on painting by significant critics in Chinese art history, and by referring to specific works by painters from the Six Dynasties up to the Yuan Dynasty, I present the merits and demerits of the different interpretations by Western experts, and explore the essence of ‘Qi Yun’. Once the painter successfully captures ‘spirit consonance’ as the essential character or ‘internal reality’ of the object, and transmits it into the work, ‘Qi Yun’ further implies the expressive quality of the work beyond formal representation. Additionally, the fusion of expressive and representative functions also leaves space for further explaining the aesthetic interaction among artist, object, work, and audience. From the Six Dynasties onwards, Chinese painters have practised the expressive pursuit beyond epresentation on the basis of the unification of ‘Qi Yun’ (spirit consonance) and formal representation, although spirit consonance was valued more highly than formal likeness. (shrink)

British art historian Charles Harrison presumes the existence of a patriarchal world with power in the hands of men who dominate the representation of women and femininity. He applauds the ground-breaking work of feminist theorists who have questioned this imbalance of power since the 1970s. He stops short, however, of accepting their claims that all women have been represented by male artists as images of “utter passivity” (p. 4), routinely reduced by the male gaze to the status of exploited sexual (...) objects, or that women’s subjectivity is eroded by the visual treatment they receive at the hands of male artists such as Manet and Picasso. He wants to show that what is depicted in the picture plane by the (typically male) artist and enjoyed by the (typically male) spectator is more nuanced than just a simple privileged understanding between two men. He adds a third (and possibly fourth or more) party to the mix when he significantly redefines and expands our concept of the gaze: “A gaze may also be conceived of as a function of a painting’s represented content” (p. 9). In other words, a gaze may be “addressed outward by a represented figure,” and regardless of who and where, “the assumption conveyed by the term [‘gaze’] is that some differential and usually asymmetrical relation will be at stake in any exchange between one who directs the gaze and another at whom it is directed. In fact, it is just this difference—in age, in sex, in class, in interest, in power —that the operation of the gaze tends to mark” (p. 9). Referring to a woman depicted within the picture plane, he asks us to consider, “What does it feel like to look like this?” (p. 21) in order to entertain our many emotional responses and interpretations. When he adds, “What does it feel like to whom?” the sexual difference of the spectator also clearly comes into play. (shrink)

This anthology focuses on “practical” forms and expressions of knowledge, like thinking through artistic media or by crafting things out of materials. The ten chapters follow and review various tracks in conceptions of contemporary knowledge, exploring human knowledge and experience from the perspective of human activities or practices, professional, artistic, domestic, or whatever. A guiding idea is that human knowledge seldom, perhaps never, fits into the traditional dualism between thinking and doing. -/- The chapters are written by philosophers and (...) musicians – some with a double experience as artists and theoreticians. The themes are philosophical, but above all, they touch on questions that are essential for how we understand ourselves as thinking and playing bodies, indeed as parts of nature. The book does not propose one single “theory of knowledge” but steps towards a more diverse and open attitude to the meaning of knowledge. -/- We hope that the texts will be of interest and useful in both disciplinebased and professional education: in philosophy, art schools, tea cher education, and in other programmes where tacit and practical knowledge are essential for the (future) practitioners. It is possible to independently read, and profit from, most of the chapters. (shrink)

Social Media is part of contemporary technology that is the contentious subject matter within the society. It is paradoxical when social media should provide techniques and objects that serve human being in a positive way, but at the same time, it can dehumanize human being such as alienation. The main problem is because the lack of impact of public policy, which does not involve society in the democratic sphere. The article is about the possibility of democratization social media in the (...) discourse of philosophy of technology. I refer to Andrew Feenberg’s Critical Theory of Technology (CTT) for opening discourse and criticizing social media. Social Media should be changed by the critical view to analyze the internal contradictions in technocracy, which view social media merely as an instrument and value-free. In the other hand, CTT will lead into the discourse of instrumentalization theory, technological rationality, technical code and democratization of social media. I conclude this article by applying CTT to delineate extant approach and consideration of democratization of social media in Indonesian through critical thinking participation and emotional education in the public sphere. (shrink)

In this paper, I consider the role of perspective in Hegel’s metaphysics, and in particular the role that multiple perspectives play within the ultimate structure in Hegel’s metaphysics, which Hegel calls ‘the idea [die Idee].’ My (somewhat anachronistic) way into this topic will be to inquire about Hegel’s stance on what Adrian Moore has called ‘absolute representations.’ I argue for the claim that perspective is maintained, even in the absolute idea, which generates the task of understanding the nature (...) of that perspective and its compatibility with absoluteness. I attempt to accomplish this task by asking what a logical perspective could be, and how it might be related to visual perspective. Then I inquire into the relation that perspectives have to each other, i.e., to the system of perspectives. I construe those relations in reciprocal and dynamic terms, so that absoluteness takes the form of a structured round of perspectives rather than a relation to reality “once and for all”. (shrink)

New developments in biotechnology radically alter our relationship with our bodies. Body tissues can now be used for commercial purposes, while external objects, such as pacemakers, can become part of the body. Property in the Body: Feminist Perspectives transcends the everyday responses to such developments, suggesting that what we most fear is the feminisation of the body. We fear our bodies are becoming objects of property, turning us into things rather than persons. This book evaluates how well-grounded this fear is, (...) and suggests innovative models of regulating what has been called 'the new Gold Rush' in human tissue. This is an up-to-date and wide-ranging synthesis of market developments in body tissue, bringing together bioethics, feminist theory and lessons from countries that have resisted commercialisation of the body, in a theoretically sophisticated and practically significant approach. (shrink)

Modern technology plays an important role in our daily lives. Many people use technology for their works, interactions, and special interests such as art. Art as a discipline, which expresses human emotion and creative side, takes a new form for its contextualization with the help of information technology. A neologism for this discipline is “digital art.” Some experts who employ a traditional value in their aesthetical perspective consider this new approach unlikely. Walter Benjamin, an eminent figure from this group, (...) stated that art must have an aura in its production as is the case in paintings. With this aura, the work of art and not artwork has uniqueness of value. However, the problem arises when information technology becomes a predominant tool for the work of art. Digital art does not consider the aura as the core value in defining something as a work of art. Furthermore, digital artists think that art can exist within a digital object and maintain its uniqueness. Parallel with the latter, this article will describe the dispute and make a clear statement that a work of art in the digital age does not require aura. (shrink)

Ketamine is a well-known and widely available general anesthetic from the 1960s that, in sub-anesthetic doses, has been adopted in a limited manner for the treatment of acute suicidality and treatment-resistant depression. Its short onset time and short duration of action make it feasible for use at outpatient clinics. In the US, it has a long history of off-label use and was officially approved for depression treatment in 2019. In Finland, it has been administered to selected hospitalized patients in the (...) public healthcare system since 2010 and became available at a private outpatient clinic very recently. In Norway, it has been administered off-label at a private clinic for approximately 500 patients since mid-2010s and at a public clinic for approximately 300 patients since 2020, with plans on opening more clinics in 2024. In the US, the treatment has been administered to hundreds of thousands of patients. -/- The retrospective ethnographic inquiry part of this study features a Finnish woman in her twenties who suffered from treatment-resistant depression, rooted in her insecure childhood and having been bullied at school, as well as income insecurity and excessive workload in adulthood. Eventually, she was violently raped, which induced an obvious post-traumatic stress disorder and exacerbated her depression, incapacitating her. In the course of approximately five years, she was prescribed ten different anti-depressive medications and seventeen other medications, including various antipsychotic medications and lithium. These failed to provide an anti-depressive effect but resulted in 'massive' adverse effects instead, including 60% weight gain and psychotic hallucinations. Eventually, esketamine spray treatment at a private outpatient clinic resolved her depression in a single session. A weekly re-administration process was ongoing. -/- In this case, repeated esketamine administration alleviated depression by producing accumulating corrective emotional experiences without the need to re-experience previous traumatizing events. In a few months to a year, the transient but accumulating anti-depressive effect typically leads to the resolution of depression in most cases, if the patients' living conditions no longer constantly re-traumatize them. It is necessary to adopt ketamine more widely as an emergency measure while more effective, non-addictive alternatives and complements are prepared for adoption. The cost of this specific pilot program implementation was unscalable, but costs can be reduced by approximately 90% by modifying the implementation details. Ketamine and its more effective alternative, 5-MeO-DMT, can serve a major role in facilitating a rebirth of public and private mental healthcare systems, with treatment efficacy multiplied and treatment costs simultaneously reduced. (shrink)