Issues about the nature and ontology of works of art play a central part in contemporary aesthetics. But such issues are complicated by the fact that there seem to be two fundamentally different kinds of artworks. First, a visual artwork such as a picture or drawing seems to be closely identified with a particular physical object, in that even an exact copy of it does not count as being genuinely the same work of art. Nelson Goodman describes such works as (...) being “autographic.” Second, other artworks such as musical or literary works seem to be copyable without any such limitations: for example, two identical copies of a novel could each equally be a genuine instance of that novel; such works are “allographic,” in Goodman’s terminology. Nevertheless, it seems clear enough that a deeper understanding of both kinds of artworks requires the pursuit of analogies or similarities between them, in spite of their differences. Any such analogies that may be found will provide critical tests for more general theories about the nature of artworks. I show how to resolve such analogies for the orientational concept of inversion. (shrink)

Peter Lamarque, in chapter 4 of his 2010 book Work and Object, argues that certain artworks, like musical scores and literary texts, are such that there can be no forgeries of them that purport to be of an actually existing work—what Lamarque calls “referential forgeries”. Lamarque motivates this claim via appeal to another distinction, first made by Goodman, between “allographic” and “autographic” artworks. This article will evaluate Lamarque’s argument that allographic literary works are unable to be referentially (...) forged and will find them wanting. In so doing, the distinction between allographic and autographic artworks (and therefore artforms) will be called into question. In section I, I characterize referential forgery and Lamarque’s definition of allographic and autographic artforms. Section II critically examines Lamarque’s argument against the possibility of referential forgery in allographic artforms. Section III offers a case where it appears that a putatively allographic text’s type membership is sensitive to facts about its causal-intentional provenance. This case serves as pretext for Section IV’s identification of this causal-intentional relation with the sanctioning relation as formulated by Sherri Irvin. On the basis of considerations treated in sections I through IV, section V questions the tenability of the allographic/autographic distinction. -/- . (shrink)

Nelson Goodman's distinction between autographic and allographic arts is appealing, we suggest, because it promises to resolve several prima facie puzzles. We consider and rebut a recent argument that alleges that digital images explode the autographic/allographic distinction. Regardless, there is another familiar problem with the distinction, especially as Goodman formulates it: it seems to entirely ignore an important sense in which all artworks are historical. We note in reply that some artworks can be considered both as (...) historical products and as formal structures. Talk about such works is ambiguous between the two conceptions. This allows us to recover Goodman's distinction: art forms that are ambiguous in this way are allographic. With that formulation settled, we argue that digital images are allographic. We conclude by considering the objection that digital photographs, unlike other digital images, would count as autographic by our criterion; we reply that this points to the vexed nature of photography rather than any problem with the distinction. (shrink)

The primary concern of our 2014 paper was not notation but the autographic/allographic distinction, not representations as such but works of art. As we see it, Zeimbekis's considerations do not ultimately undermine the position we advanced in 2014— but they do challenge an element of Goodman's own theory of notation that derives from his requirement of recoverability. That requirement can be abandoned without losing the explanatory power of the autographic/allographic distinction as we have refined it.

Nelson Goodman notoriously distinguished between autographic works, whose instances should be identified by taking history of production into account, and allographic works, whose instances can be identified independently of history of production. Scholars such as Jerrold Levinson, Flint Schier, and Gregory Currie have criticized Goodman’s autographic/allographic distinction arguing that all works are such that their instances should be identified by taking history of production into account. I will address this objection by exploiting David Davies’ distinction between (...) e-instances and p-instances of a work, thereby restating the autographic/allographic distinction. Then, I will show that this way of restating this distinction leads us to effective accounts of relevant related phenomena such as forgery, plagiarism, and digital technologies. Finally, I will show the theoretical advantages of my account of the autographic/allographic distinction in comparison with an alternative account recently proposed by Jason D’Cruz and P.D. Magnus. (shrink)

A review of the Czech translation of Nelson Goodman's Languages of Art. I emphasize Goodman's move away from the issue of the definition of art, and the fruitfulness of the autographic/allographic distinction.

Aesthetics versus Art History? Ernst Cassirer as Mediator in an ongoing Controversy on the Relevance of Art for Life. Against the background of Ernst Cassirer’s cultural philosophy, art studies are to be classified as cultural studies. Central to this is Cassirer’s philosophy as the basis for answering a question that has been posed by the methods of formal aesthetics and iconology since the 19th century but is still unanswered today, namely the question of the relevance of the arts for (...) life. In this way, aesthetics/Kunstwissenschaft and art history gain a new meaning as cultural studies beyond their achievements in the humanities and in epistemology. (shrink)

The aim of this paper is to generalize a pair of concepts that are widely used in the history of science, in art history and in historical linguistics – the concept of internal and external history – and to replace the often very vague talk of ‘historical narratives’ with this conceptual framework of internal versus external history. I argue that this way of framing the problem allows us to see the possible alternatives more clearly – as a limited number (...) of possible relations between internal and external history. Finally, I argue that while external history is metaphysically prior to internal history, when it comes to historical explanations, we need both. (shrink)

According to what I call the ‘Discontinuity Thesis’, literature can never count as genuine philosophizing: there is an impermeable barrier separating it from philosophy. While philosophy presents logically valid arguments in favor of or against precisely formulated statements, literature gives neither precisely formulated theses nor arguments in favor of or against them. Hence, philosophers don’t lose out on anything if they don’t read literature. There are two obvious ways of questioning the Discontinuity Thesis. First, arguing that literature can indeed do (...) what philosophy is generally taken to do. Second, arguing that philosophy is not, in fact, the presentation of logically valid arguments in favor or against precisely formulated statements – what it does is closer to what literature is generally taken to do. I use a combination of these two strategies and argue that philosophy is not as intellectually straightforward as it is advertized to be and literature is not as intellectually impoverished as it is generally taken to be. (shrink)

I propose a distinction between design intentions, activities and products, as opposed to artistic intentions, activities and artworks. Examples of design products would include a specific type of car (or any other invention or device) as well as closer relatives of art such as decorative wall designs. In order to distinguish artistic from design intentions, I present an example in which two sculptors independently work on a single object to produce two sculptures, which are distinct just because the artistic intentions (...) of the sculptors are distinct. This case is then contrasted with an attempted parallel example for design intentions, which fails to produce two correspondingly distinct design products in spite of the different design intentions of its designers. I argue that this failure occurs because designs are types, for which any single token of a given type could not simultaneously be a token of some other type of the same general kind; whereas the possibility of my sculptural 'double artwork' example shows that such artworks cannot be types. I then further investigate the concept of a design, and conclude by arguing that an extension of my sculptural example shows that literary artworks also cannot be types. (shrink)

: For Meinong, familiarly, fictional entities are not created, but rather merely discovered (or picked out) from the inexhaustible realm of Aussersein (beyond being and non-being). The phenomenologist Roman Ingarden, in contrast, offers in his Literary Work of Art of 1931 a constructive ontology of fiction, which views fictional objects as entities which are created by the acts of an author (as laws, for example, are created by acts of parliament). We outline the logic of fiction which is implied by (...) Ingarden’s approach, showing how it distinguishes the properties possessed by fictional objects (for instance of having been created by such and such an author in such and such a work) from characteristics (for instance of smoking a pipe, of living in Baker Street) which are merely associated with such objects. (shrink)

The highly enjoyable experiences associated with drinking good wines have been widely misunderstood. It is common to regard wine appreciation as an analytical or quasi-scientific kind of activity, in which wine experts carefully distinguish the precise sensory qualities of each wine, and then pass on their accumulated factual knowledge to less experienced wine enthusiasts. However, this model of wine appreciation is seriously defective. One good way to show its defects is to provide a better and more fundamental scientific account of (...) what is involved in wine appreciation. In order to do so, I outline a novel, evolutionarily based theory of perceptual consciousness that explains why there must be imaginative as well as analytical kinds of experiences of wines. In addition, imaginative wine experiences, unlike typical imaginative artistic experiences, may be shown to involve highly individualistic, improvisatory elements that help to give wine drinking a unique place among the recreational arts. (shrink)

I argue that the concept of representation is ambiguous: a picture of 'a man', when there is no actual man that it depicts, both does, in one sense, and does not, in another sense, represent 'a man'--hence the need for a distinction of internal from external representation. Internal representation is also defended from reductive, non-referential alternative views, and from 'prosthesis' views of picturing, according to which seeing a picture of an actual man just is seeing through the picture to that (...) actual man himself. The view also provides a strong foundation for a theory of reference to fictional entities. (shrink)

The paper presents a preliminary estimation of the extent of dissemination of optical texts, ideas, and issues among the masters connected with the Prague faculty of arts in the late 14th and early 15th century. Investigation of this topic, so far rather neglected, is based chiefly on manuscript research. The paper brings evidence that perspectiva was taught in Prague at least since the 1370s. It suggests that investigation of Prague quodlibetal disputations (ca. 1390s – 1410s) and consideration of perspectivist authorities (...) employed in these texts can also shed some light on the issue. However, the paper is mainly devoted to the question on the mechanism of vision disputed by Bohemian arts master John of Borotín (Iohannes de Borotin, 1378 – after 1458) in the quodlibet organised by John Hus in 1411. It is suggested that the single extant exemplar of the question (preserved in the codex Prague, National Library, X.H.18) probably is Borotín’s autograph. The structure and sources of the question are analysed, with the conclusion being that Borotín proposes a compromise between intromission and extramission influenced by John Peckham’s Perspectiva communis. A critical edition of Borotín’s question is appended to the paper. / / / Please note this article is published with Brepols Publishers as a Gold Open Access article under a Creative Commons CC 4.0: BY-NC license. The article is also freely available on the website of Brepols Publishers under this same license. (shrink)

The dilemma referred to in the title occurs in many contexts concerned with expressive meaning in art, and especially music, which suggests that the issue it raises will be central to any complete theory of musical expressiveness. One notable attempt to resolve the paradox of simultaneous generality and particularity in music is in Aaron Ridley’s book Music, Value and the Passions. I show why I consider his account unsatisfactory and then propose my own resolution of the paradox. It takes the (...) form of distinguishing between two distinct notions of generality (which I term ‘generality’ and ‘abstractness’) and of particularity (‘specificity’ and ‘concreteness’), and of constructing two relatively independent oppositions: the concrete versus the abstract and the specifi c versus the general. Finally, I show that a description of music’s expressive meaning as abstract, but specific, rightly captures what is usually thought about music, and does not entail any contradictions. (shrink)

I want to differentiate between two very different ways of organizing pictorial elements at a very abstract level: -/- (2D) two-dimensionally: pictorial elements are organized and grouped according to their outline shape on the picture surface and (3D) three-dimensionally: pictorial elements are organized and grouped according to their position in the depicted space. -/- Suppose you need to depict seven identical spheres. On the most general level, there are two ways of doing this: you can arrange the seven spheres in (...) space and then choose a vantage point in this space from which you want to depict them. Or you can arrange seven circles (the outline shapes of the seven spheres) on the two-dimensional surface of the picture. The former method is an instance of three-dimensional pictorial organization, whereas the latter one is an instance of two-dimensional pictorial organization. (shrink)

Philosophy from above or from below? Higher ideas or empiricism? -/- These questions have been at the forefront of the differentiation of university subjects in Germany since the mid-19th century. Questions about aesthetics or the beautiful, the true and the good and about what is beautiful, good and true played a central role. -/- Cf. my contribution in Grundriss zur Geschichte der Philosophie, vol. 1/2, Die Philosophie des 19. Jahrhunderts: Deutschsprachiger Raum 1830-1870. ed. Gerald Hartung, Basel: Schwabe, 2023, 425-447 and (...) here the original manuscript or the 2nd citable edition 2024 with extended bibliography and weblinks, published in: UB Heidelberg. Publication platform for art and visual studies, Arthistoricum. -/- . (shrink)

We apply a familiar distinction from philosophy of language to a class of material artifacts that are sometimes said to “speak”: statues. By distinguishing how statues speak at the locutionary level versus at the illocutionary level, or what they say versus what they do, we obtain the resource for addressing two topics. First, we can explain what makes statues distinct from street art. Second, we can explain why it is mistaken to criticize—or to defend—the continuing presence of statues (...) based only on what they represent. Both explanations are driven by the same core idea: the significance of statues arises primarily from what they do, and not what they say. (shrink)

This study firstly addresses three threads in Chris Marker’s work – theology, Marxism, and Surrealism – through a mapping of the work of both Giorgio Agamben and Jacques Derrida onto the varied production of his film and photographic work. Notably, it is late Agamben and late Derrida that is utilized, as both began to exit so-called post-structuralism proper with the theological turn in the late 1980s and early 1990s. It addresses these threads through the means to ends employed and as (...) ends proper (as production of semi-autonomous works that also, paradoxically, index a much larger field of inquiry and theoretical praxis). It is perhaps French “schizophrenia” regarding theological versus political agency that best accounts for the sardonic deployment of irony and humor in Marker’s work in the face of Big History. Such means to ends (plus a subtle anti-intellectualism vis-à-vis fashionable academic trends) tend to underscore the severity and ultimate sincerity of Marker’s overall cultural-political project. -/- Dossier Chris Marker is also a study of a late-modern chiasmus, impersonal-personal agency, as it comes to expression in the works of Marker, as the dynamic interplay of political and subjective agency. As chiasmus, the complementary halves of this often-apocalyptic dynamis (a semi-catastrophic, temporal or historical force-field) also – arguably – secretly agree to meet, through the work of art, in the futural (problematized in contemporary French post-phenomenological and post-post-structuralist theory as “the event).” Consistent with the classical figure of concordia discors, Marker resolves these irreducible warring aspects of life experience in an atemporal and ahistorical moment that inhabits the work of art from its inception. This redemptive aspect in art is also the ultimate gesture of the artwork as autonomous subject and “mask” (or “screen”) for forces that reside beyond the frame of the image or work, as its proverbial Other, or within the frame, as other to that Other. -/- Despite the complications of the as-yet unresolved post-modern condition (its nihilist-relativist bias), and its similar, mostly circular concerns with the image and/or media, Marker’s work is clearly not post-modern. In fact, when tested against immemorial cultural epiphenomena, that work withstands all attempts at categorization and/or art-historical analysis proper. It remains unassimilable to the post-modern cause ... What emerges, upon closer examination, and through rigorous re-contextualization, is the prescient force of Marker’s works toward that futural state buried in art that is also “theological,” versus atheological, and heedlessly anterior to cultural politics per se. -/- In the case of Marker, this age-old or immemorial “thing-in-itself” (the artwork as image of world-chiasmus) finds its foremost or penultimate formation in his very-still photography – the singular images that are also the building blocks for his renowned ciné-essays. Not without irony, this same austere, reductive force of the still image (as form of proscription) also inhabits the more complex, synthetic works (or montages) that he has formulated and presented “dramatically,” here and there, through the often-sketchy apparatuses of his new-media experiments, as of the late 1980s. Ultimately, this world-image as chiasmus was always present within his earliest literary projects, from the 1940s forward – most especially in books and essays, with or without actual images. -/- Marker’s “return” to photography (to exhibiting still photography in galleries), in the late 2000s, is in many ways a return to the singular object of the artist-critic’s desire; the image in/for itself, while that image – endlessly troubled or interrogated for decades – continues to speak “in tongues” anyway, often against, or oblivious to, the voice of the author/artist/narrator. -/- Marker is a High Romantic Christian Marxist. The “Christic” aspect is rightly well-hidden, but emerges when the eschatological versus historical center of his work is exposed (the existential-metaphysical fuse such as also inhabits the works of Caravaggio), and when his early years are examined in light of his later and/or final years. Marker’s semi-personal/semi-impersonal apocalyptic vision is writ large in diverse works that cross decades, figuring a redemptive, world-shattering formation of art as pleroma. (shrink)

The essay is an English version of the German article "Wissenschaftliche Rationalität, menschliches Bewusstsein und pro-religiöse Ideen". It discusses immanent versus transcendent concepts in the context of the art of living, as well as the understanding of human consciousness in the context of religion. Science provides us with a far reaching understanding of natural processes, including biological evolution, but also with deep insights into its own intrinsic limitations. This is consistent with more than one interpretation on the “metatheoretical“, that (...) is on the philosophical and cultural level, including liberal, enlightened forms of religion as well as agnostic views. Choices and preferences are mainly a matter of wisdom and art of living, and not just of knowledge, and this, in my view, supports metaphysical and anthropological optimism as expressed in liberal pro-religious ideas. Within Christian theology, metaphysical optimism and openness are most characteristic for the ideas of “apokatastasis” – “salvation for all” - repeatedly condemned as heretical, but also widely supported from early Christianity to modern times. (shrink)

In Languages of Art, Nelson Goodman presents a general theory of symbolic notation. However, I show that his theory could not adequately explain possible cases of natural language notational uses, and argue that this outcome undermines, not only Goodman's own theory, but any broadly type versus token based account of notational structure.Given this failure, an alternative representational theory is proposed, in which different visual or perceptual aspects of a given physical inscription each represent a different letter, word, or other (...) notational item. Such a view is strongly supported by the completely conventional relation between inscriptions and notation, as shown by encryption techniques etc. (shrink)

What does it mean to be conservative? What could it mean in the arts? Whoever merely conserves works of art may be a collector but is not an artist. Brahms’s trio op. 40 conserves the hand horn idiom. Yet its aesthetics will not be captured by the opposition of ‘conservative’ versus ‘progressive’. What is superior in terms of technology, Brahms maintained, need not be superior in terms of art.

The artefacts produced by artists during their creation of works of art are very various: paintings, writings, musical scores, and so on. I have a general thesis to offer about the relations of artefacts and artworks, but within the confines of this article I shall mainly discuss cases drawn from the art of painting, central specimens of which seem to be autographic in Nelson Goodman's sense, namely such that even the most exact duplication of them does not count as (...) producing the same work of art. My view will be that an artwork (such as a painting) and its associated artefact are not identical, and nor is the artefact in any sense part of the painting in question,2 but that nevertheless it is still possible to maintain the view that paintings are autographic (which view I shall call l the autographic thesis). I shall proceed initially through presentation of some counter-examples to common assumptions as to the relations of artefacts and artworks, and then present an alternative 'representational' theory of their relations. (shrink)

In the Gorgias, Plato contrasts pastry cooking unfavorably with medicine, in order to illustrate the difference he believes exists between a mere knack and a genuine art. I attempt to show that Plato’s treatment of cooking distorts or misconceives that activity, and does so in order to shore up his arguments about the distinction between arts and knacks, and about the separation and hierarchy between minds and bodies. Plato’s treatment of cookery seems to be informed not by the activity of (...) cookery itself, but by medicine, the activity against which it is set. In contrast, I shall suggest that attending to foodmaking directly can challenge Plato’s art/knack and soul/body dichotomies in several important ways. My method combines close examination of the passage with more speculative reflections on the significance and consequences of Plato’s ideas about cooking. (shrink)

From artistic performances in the visual arts and in music to motor control in gymnastics, from tool use to chess and language, humans excel in a variety of skills. On the plausible assumption that skillful behavior is a visible manifestation of intelligence, a theory of intelligence—whether human or not—should be informed by a theory of skills. More controversial is the question as to whether, in order to theorize about intelligence, we should study certain skills in particular. My target is the (...) view that only a particular class/kind of skill (i.e., ‘theoretical’, or ‘intellectual’ skills, versus ‘practical’, or ‘embodied’ skills) manifests intelligence, or especially does so. I call this view ‘Intelligence Elitism’. Intelligence Elitism is pervasive in popular culture, in academic culture, as well as in psychometrics. It has, arguably, a long pedigree in philosophy (though explicit arguments for it are rare). But it is a substantive view which, if false, can promote unfairness. In this article, I defend Intelligence Socialism—the claim that intelligent behavior is everywhere skillful behavior is. I go on to isolate the best case for the further Elitist claim that, even if all skillful behavior is intelligent in some modest sense of ‘intelligence’, there is a principled difference in intelligence between theoretical, or intellectual, skills, on one side, and practical, or embodied skills, on the other, and I show it wanting. (shrink)

This essay reviews the domain of the literary contrasting it with other intellectual discourses; especially philosophy. It establishes the superiority of literature over philosophy. And mentions the philosophies informing literature. The essay is written consciously with copious endnotes, contrary to current ways of writing. The essay proper is simple; the endnotes often mock jargon and mimic pedantry.

In The World as Will and Representation (Vol. I, Book 3, § 52) by Arthur Schopenhauer we find the following, striking words: It is just this universality that belongs uniquely to music, together with the most precise distinctness, that gives it that high value as the panacea of all our sorrows. (p. 262) Accordingly, music ... is in the highest degree a universal language ... Yet its universality is by no means that empty universality of abstraction, but is of quite (...) a different kind; it is united with thorough and unmistakable distinctness. (p. 262) ... music expresses in an exceedingly universal language, in a material, that is, in mere tones, and with the greatest distinctness and truth, the inner being, the in-itself, of the world, which we think of under the concept of will (p. 264). These quotations contain an outright paradox: the meanings of music should be at the same time universal in the highest degree and characterised by the greatest distinctness. As it turns out this paradox does not follow merely from Schopenhauer's liking for brilliant, rethorical formulations. For it occurs in many contexts concerned with the expressive meaning of art, and especially music. Other occurrences of the dilemma are to be found in the writings of Felix Mendelssohn-Bartholdy and in the aesthetic theory of Susanne Langer formulated in chapter VIII, >On the Significance in Music of her book Philosophy in a New Key and it would be possible to quote many other sources. The persistently recurring nature of this paradox confirms that the issue will be central to any attempt at a complete theory of musical meaning. Furthermore, it may be essential for it to be resolved first if one aims to make sense of the relationship between musical and linguistic forms of meaning and, consequent upon this, to address the much debated question of whether music itself can be considered to be a language of the emotions. An attempt at a solution to the paradox in question constitutes the subject of this paper. For this purpose the framework and some notions of Langer's theory are used. The solution which I propose takes the form of distinguishing between two distinct notions of generality (which I will term 'generality' and 'abstractness'), as well as two distinct notions of particularity (which I will term 'specificity' and 'concreteness'), and involves assigning technically precise meanings to these with a view to constructing two relatively independent oppositions: on the one hand the concrete versus the abstract and, on the other, the specific versus the general. (Hints at such a solution are to be found both in Schopenhauer and in Langer). With the help of these notions it is, I believe, then possible to show that the arguments often quoted to the effect that musical meanings possess a certain generality in fact justify no more than their abstractness, while arguments usually thought to demonstrate that they possess a certain particularity in fact show only their specificity (but not concreteness). Consequently, musical meanings are shown to be abstract but specific, which does not entail any contradiction since these notions are independent and not opposed to each other. At the same time, musical meanings may then be contrasted with linguistic meanings, which themselves are abstract and general. If, however, each of the notions of abstractness and generality is understood as also permitting gradations, it will be the case that whereas linguistic meanings may be said to be more general (i.e. less specific) than musical ones, the latter are without any doubt more abstract than the former. (shrink)

This chapter presents the meeting points and conflicts between Arthur Danto’s philosophy of art and George Dickie’s avowedly succeeding theory. Its focus is on the internalist-externalist debate on the ontology of the artwork as created and perceived within the artworld. It shows that both Danto and Dickie developed anti-formalist theories, that contributed to the demise of aesthetic modernism. Inverting the formalist distinction between internal and external properties of the artwork, they classified the sensuous properties of the artwork as secondary in (...) its essence and identity. Accordingly, Danto and Dickie’s definitions of art emerged from the challenge “to be consistent with art appearing in every possible way.” Both negated the Neo-Wittgensteinians’s proposal to forgo the project of defining art and found the then-new pluralism to be revealing of the essence of art, directing philosophy to art’s nonexhibited infrastructure – beyond the reach of the eye. Across from this, the chapter presents their opposing ideas as revealed through different analyses of the concept of the “artworld”: as an intellectual sphere by Danto versus an institutional one by Dickie. Danto’s internalist/intentionalist ontology begins with the mental and stretches to its embodying material. Opposing it, Dickie’s externalist ontology points to social practices as constituting the artwork, which is attributed with the status of “arthood” by agents in its social sphere. Accordingly, I claim, Danto’s ontology is more versatile than Dickie’s. -/- . (shrink)

contents -/- ONT vol 1 i. short review: Beyond the Black Rainbow ii. as you die, hold one thought iii. short review: LA JETÉE -/- ONT vol 2 i. maya means ii. short review: SANS SOLEIL iii. vocab iv. eros has an underside v. short review: In the Mood for Love -/- ONT vol 3 i. weed weakens / compels me ii. an Ender's Game after-party iii. playroom is a realm of the dead iv. a precise german History v. short (...) review: STATUES ALSO DIE vi. Kenneth Clark, curator for Fascism vii. a protest poem, in industry lit viii. Lawrence and the English Romance -/- ONT vol 4 i. short review: The Eyes of Tammy Faye ii. vR is efficient R iii. all thru Asia, robes for monks iv. same of God, and of the one God sent v. i thought of the Messiah / muse would be vi. conscience is strong vii. a monk's exalted end -/- ONT vol 5 -/- i. for Shakespeare's Richard the Third ii. the truth is i pass over so many words iii. the boori nazar / nadhar iv. i've awe for jihaad v. short review: Hail, Caesar! vi. a minute of Nothing, gone from YouTube vii. we were rivalrous friends, again viii. my bardo pdf ix. within i'm a weak old mandarin -/- ONT vol 6 i. short review: The Intern ii. the confusion of Chinatown iii. we'll remember water, in Theology iv. Respironics versus ResMed v. i'd bet my life for what vi. the Mad Max deity vii. they'd kill my rat, not heal him -/- ONT vol 7 i. Austen would eroticize all life ii. Merchant/Ivory, a name oddly right iii. Ellie Arroway / Agent Starling iv. abattoir / l’abattoir / laboratoire v. von Neumann's brain an anomaly vi. was terrified of death, delighted in the a-bomb vii. the Greatest Brain is variously named -/- ONT vol 8 i. the day they shot the sacrifice ii. Yay or Nay, on Animal Testing iii. an ought is an is / an is is an ought iv. Behaviorism is for zombies v. a finding from the neuro-lab, on empathy vi. i’ve never had discernible abs vii. a cowardice i'm assenting to perpetually -/- ONT vol 9 i. Day of the Locust / Triffids ii. we're wide on a Paramount soundstage iii. HOLLYWOOD, an ecologic history iv. yet one more site of end-time art v. he's "a bookworm with bulging lobes" vi. apartment is my state of being apart vii. enlightenment means a weight's release -/- ONT lates and xtras i. re Gödel's ontological argument ii. deep in pi's numeric noise iii. from Nothing, something iv. endless in the wrong direction, tragic v. they give you all Eternity to answer vi. what of God's mercy? vii. informed consent and prayer viii. i won't live on. a deed i've done may ix. my selective memory x. Janus means: in close-up foam, two faces xi. a liveable world is a readable world xii. what Supervenes from this? xiii. at each extreme our naming is anachronism xiv. Cat is a collapsing of the wave-function xv. diminishing returns in the history of Experiment xvi. all those undershared Nobels xvii. ice preserves the Cold from heat xviii. a desert spreads xix. Pinker's wit, on jokes xx. Rome surrounds St. Paul / Paul is now the center xxi. each is a gathering Ministry xxii. white boy shot execution-style xxiii. the McDonald's Statement of Claim xxiv. first & last: Don Quixote / Ulysses xxv. The Summer of Rave xxvi. this electro is intrinsically anonymous xxvii. all thru Asia, Drake-Rihanna xxviii. WHO IS BETTER: PLATON OR KANT? (shrink)

Abstract in English: The short essay is about impressive philosophical ideas of the great German dramatist Friedrich Schiller (1749-1805). In his “letters on the aesthetic education…” he critisizes, with respect to human behaviour, too much reason and too stringent principles, leading to a neglect of positive emotions such as empathy; he argues in favour of an aesthetic lifestyle. This is supported by biological as well as mental aspects of human self-understanding. My article follows these lines of thought in a sequence (...) of sections: The nature of human beings – a permanent topic of science, philosophy and the arts. The professional dramatist as temporary philosopher- Schiller’s “Letters on the aesthetic education…”. Against an “egoism of reason”, in favour of empathy. Basic human capabilities allow for an objective view on nature. Positive versus negative effects of the division of labour…and thoughts on a new “wholeness” with an aesthetic lifestyle. After Schiller’s philosophical phase, back to new dramas on stage – Wallenstein’s fragile sense of empathy. Evolution, empathy and the “art of living” – survival of the fittest or survival of the nicest? Self-contradictory self-images – Demetrius the illusiory tsar as rival of Boris Godunow. -/- Deutsche Zusammenfassung: Für uns Menschen gehört zum „guten Leben“, dass wir uns sowohl als Natur- wie auch als Kulturwesen nicht nur erkennen, sondern wirklich annehmen. Dazu spricht sich Schiller besonders für einen Vorrang der Empathie vor Grundsätzen der Vernunft und für eine ästhetisch begründete Lebenskunst aus. Mein Essay folgt solchen Denklinien in einer Sequenz der Abschnitte: Die Natur des Menschen – Dauerthema der Wissenschaft. Der Berufsdramatiker als Philosoph - Schillers Briefe zur ästhetischen Erziehung. Gegen den Egoismus der Vernunft, für den Vorrang der Empathie. Grundfähigkeiten des Menschen: Die Natur betrachten, die Natur denken. Segen und Elend der Arbeitsteilung…und Hoffnung auf neue Ganzheit in Formen ästhetischen Lebens. Zurück zur dramatischen Dichtung - Wallensteins brüchiges Verhältnis zur Empathie. Evolution, Empathie und Lebenskunst - „Survival of the fittest“ oder „Survival of the nicest“? Selbstbilder der Seele im Widerspruch - Der falsche Zar Demetrius als Rivale von Boris Godunow. -/- . (shrink)

It seems that there is a general principle in Aristotle’s philosophy that ‘all things are referred to that which is primary (πὰντα πρὸς τὸ πρῶτον ἀναφέρεται).’ (Met., Γ, 1004a25-26) This referring relation, however, may be in a different way for each thing: ‘After distinguishing the various senses of each, we must then explain by reference to what is primary in each term, saying how they are related to it; some in the sense that they possess it, others in the sense (...) that they produce it…’ (Met., Γ, 1004a28-31) This general principle is asserted about: a) One: ‘All things which are one are referred to the primary one.’ (Met., Γ, 1004a26-27; 1005a6-7) As Aristotle always makes ‘one’ and ‘being’ close to each other subject of the same rules and attributes, he makes the subject of referring interchangeable as well: ‘It makes no difference whether that which is be referred to being or to unity. For even if they are not the same but different, they are convertible.’ (Met., K, 1061a15-18) b) The same. (Met., Γ, 1004a27) c) The contraries. (Met., Γ, 1004a28) d) Being, healthy and medical: It is a crucial thesis of Aristotle’s Metaphysics that being (τὸ ὄν) is said in referring to a primary being, that is substance. And to do this, he repeatedly takes ‘healthy’ and ‘medical’ as examples: ‘There are many ways in which a thing is said ‘being’ but they are referred to some one and unitary nature (πρὸς ἓν καὶ μίαν τινὰ φύσιν) but not homonymously. Everything which is healthy is related to health, one thing in the sense that it preserves health, another in the sense that it produces it, another in the sense that it is a symptom of health, another because it is capable of it. And that which is medical is relative to the medical art, one thing in the sense that it possesses it, another in the sense that it is naturally adopted to it, another in the sense that it is a function of medical art. So, too, there are many senses in which a thing is said to be, but all refer to one starting point; some things are said to be because they are substances, others because they are affections of substances, others because they are a process towards substances, or destructions or privations …’ (Met., Γ, 1003a33-b10; cf. K, 1060b36-1061a6; Z, 1030b2-3) Thus, all of the categories refer to the primary being, i.e. substance because ‘it is in virtue of the formation of substance that the others are said to be quantity and quality and the like; for all will be found to contain the formula of substance.’ (Met., Θ, 1045b27-30) Also, Aristotle speaks of becoming of all things referring to one common: ‘Everything that is may become referring to some one common nature.’ (Met., K, 1061a10-11) e) Contraries: all contraries refer to the primary differences and contraries: ‘Since everything that is may become referring to some one common nature, each of the contraries also may become referring to primary differences and contraries of being, whether the first differences of being are plurality any unity or likeness and unlikeness, or some other differences.’ (Met., K, 1061a10-15; cf Met., K, 1061b11-15; Met., Γ, 1005a6-8) f) Potentialities: ‘All potentialities that conform to the same type are starting points, and are called potentialities in reference to one primary kind. (Met., Θ, 1046a9-14) g) Soul and body refer to the same thing. (Met., H, 1043a35-37) 1) Referral unity versus universal unity Aristotle distinguishes referral (πρὸς ἓν) unity from the unity that is found in universal, which is the same in all of its instances: ‘If being or unity is not a universal and the same in every instance … the unity is in some cases that of referring to one (πρὸς ἓν), in some cases that of serial succession.’ (Met., Γ, 1005a8-11) Thus, we can say that the unity present in pros hen must be distinguished from the unity that is found in the instances of a universal: while in all of these instances the universal is the same, in those that are one by referring to the one, there is nothing which is the same in all. Aristotle says this also by using ‘based on one’ (καθ᾽ ἓν) and common: while in one the instances are one ‘based on one’ thing, they are one in the other by referring to one: ‘For not only in the case of things that are said based on one there is knowledge investigating one subject, but also in case of things that are said referring to one nature.’ Nonetheless, Aristotle thinks that ‘referring to one’ unity is somehow kind of ‘based on one’ unity: ‘For even that [i.e. being said ‘referring to one’] is a kind of being said based on one.’ (Met., Γ, 1003b12-15) In Nicomachean Ethics (1096b23-9) Aristotle opposes being derived from one thing to referring to one thing: ‘In what sense are different things called good? … Is it because they are all derivative of a single thing (ἀφ’ ἑνος εἶναι), or [i.e. equivalently] because they are all derived towards a single thing (πρὸς ἓν συντελεῖν) …? (See: EEt., H2, 1236a15-23) . (shrink)

Resumo: Sabe-se que a pecuária é uma parcela do agronegócio que move a economia do país, e incluso está a produção leiteira, que tem, a cada ano seu desenvolvimento elevado, de forma em que é priorizado a eficiência no aumento de sua produção, com o objetivo de suprir a demanda, e a maior rentabilidade do produtor. Diante disso, medidas de manejo reprodutivo e alimentar são adotadas, sendo estas capazes de elevar a produtividade com o menor custo possível. O trabalho objetivou (...) pautar acerca do conhecimento sobre o manejo nutricional correto e escore corporal, que afetam diretamente a produtividade do animal, o conhecimento acerca do ciclo reprodutivo de vacas, expondo a detecção de estro, bem como metodologias eficazes aplicadas na reprodução, e práticas de bem estar, que, quando ausente, é apontado como um dos precursores da ineficiência reprodutiva. Palavras-chave: Inseminação Artificial 1; detecção de cio 2; leite 3. Abstract: It is known that livestock is a part of agribusiness that drives the country's economy, and is even milk production, which has, every year, its high development, so that it is prioritizing efficiency in increasing its production, with the objective of supplying the demand, and the greater producer profitability. Therefore, reproductive and food management measures are adopted, being able to increase productivity with the lowest possible cost. The work aimed guide about knowledge about correct nutritional management and body score, which affect directly the animal's productivity, knowledge about the reproductive cycle of cows, exposing estrus detection, as well as effective methodologies applied in reproduction, and practices of well-being, which, when absent, is pointed out as one of the precursors of inefficiency reproductive. Keywords: Artificial Insemination 1; heat detection 2; milk 3. -/- REFERÊNCIAS BIBLIOGRÁFICAS ALFIERI, A. A. LEME, R. ALFIERI, A.F. Tecnologias para o manejo sanitário de qualidade de doenças infecciosas na bovinocultura de corte. Bovinocultura de corte: desafios e tecnologias. Revista eletrônica da Universidade Federal da Bahia - UFBA. ed. 2. v. 1. p. 115-132. 2013. ARBOLEDA, José Leonardo Ruiz; URIBE-VELÁSQUEZ, Luis Fernando; OSORIO, José Henry. Factor de crecimiento semejante a insulina tipo 1 (IGF-1) en la reproducción de la hembra bovina. Vet. zootec, v. 5, n. 2, p. 68-81, 2011. BAUMGARD, L.; RHOADS, R. Efeito do estresse calórico no metabolismo e na produção de leite, e estratégias para minimizar efeitos negativos. Em: XVI Curso Novos Enfoques na Produção e Reprodução de Bovinos. Uberlandia, Brasil, 2012. BARUSELLI, P. S. et al. Evolução e perspectivas da inseminação artificial em bovinos. Revista Brasileira de Reprodução Animal. v 43. n 2. p 308-314. 2019. BARUSELLI, Pietro Sampaio; GIMENES, Lindsay Unno; SALES, José Nélio de Sousa. Fisiologia reprodutiva de fêmeas taurinas e zebuínas. Revista Brasileira de Reprodução Animal, v. 31, n. 2, p. 205-211, 2007. BERGAMASCHI, M. A. C. M., MACHADO, R. BARBOSA, R. T. Eficiência reprodutiva das vacas leiteiras. Embrapa - Pecuária Sudeste- Circular Técnica (INFOTECA-E). 2010. Arquivo digitaldisponívelem:. Acesso em: 15 de Novembro de 2021. BORGES, A. M.; MARTINS, T. M. Relação entre nutrição e reprodução em rebanhos mestiços leiteiros. In: IV SIMPÓSIO NACIONAL DE BOVINOCULTURA DE LEITE, 2013, Viçosa. Anais ... Viçosa, p. 215-236, 2013. BORGES, A. et al. Reprodução de vacas mestiças: potencialidade e desafios. Revista Brasileira de Reprodução Animal. v 39. n 1. p 155-163. 2015. CAETANO, R. P. et. al. Manejo reprodutivo da bovinocultura de leite nos assentamentos rurais do município de Ilha Solteira, São Paulo. 8º Congresso de Extensão Universitária da UNESP. ISSN 2176- 9761. p 4. 2015. Arquivo disponível em: CARNEIRO M.A., Bergamaschi M., Machado R. & Barbosa R.T. (2010) Eficiência reprodutiva das vacas leiteiras. Embrapa Pecuária Sudeste. Circular Técnica,64. ISSN: 1981- 2086. CERVO. H J. Fatores intrínsecos à produção, o uso da inseminação artificial e os objetivos de seleção na pecuária leiteira do sul do Brasil, Rio Grande do Sul, Brasil. 2014. 228f. Tese (Doutorado em Zootecnia) - Universidade Federal do Rio Grande do Sul – UFRS, Porto Alegre. DA SILVA, Emanuel Isaque Cordeiro. Fisiologia Clínica do Ciclo Estral de Vacas Leiteiras: Desenvolvimento Folicular, Corpo Lúteo e Etapas do Estro. 2020. DA SILVA, Emanuel Isaque Cordeiro. Fisiologia da Reprodução Animal: Ovulação, Controle e Sincronização do Cio. 2020. DA SILVA, et al. Manual de Exame Ginecológico da Vaca. IX Mostra Nacional de Iniciação Científica e Tecnológica Interdisciplinar (MICTI) - IFC - Instituto Federal Catarinense. 2016. Arquivo digital disponível em: Acesso em: 15 de Novembro de 2021. DIAS. J C. et al. Alguns aspectos da interação nutrição-reprodução em bovinos: energia, proteínas, minerais e vitaminas. Revista Pubvet. v. 4 n. 5 p. Art. 738-743. 2010. FERNANDES, A. F. A. OLIVEIRA, J. A. QUEIROZ, S. A. Escore de condição corporal em ruminantes. Revista Ars Veterinária. v. 32, n. 1, p. 55-66, 2016. FERREIRA, A. M. Reprodução da Fêmea Bovina. Fisiologia aplicada e problemas mais comuns (causas e tratamentos). Juiz de Fora, MG: Edição do autor, 2010. FRANCO, F. F. Escore de condição corporal e desempenho reprodutivo de vacas leiteiras mestiças lactantes, Minas Gerais, Brasil. 2015. 59f. Dissertação (Mestrado em Ciências Veterinárias) - Universidade Federal de Uberlândia, Uberlândia. GARCIA, J. R. A. SILVA, N. SILVEIRA, W. TEIXEIRA, M. C. C. Estudo epidemiológico de problemas reprodutivos em rebanhos bovinos na bacia leiteira de Goiânia. Revista Eletrônica - Arquivo Brasileiro de Medicina Veterinária e Zootecnia. v 57. n 6. p 720-725. 2005. IVANOU, A. V. Clínica e reprodução de bovinos leiteiros. Évora, Portugal. 100f. 2015. Dissertação (Mestrado em Medicina Veterinária) - Universidade de Évora - Escola de Ciências e Tecnologia, Évora. MANTECA, X. et al. Bem-estar animal: conceitos e formas práticas de avaliação dos sistemas deprodução de suínos. Revista - Semina: Ciências Agrárias. v. 34 n. 2. p 4213-4229. 2013. MOURA, M. S. et al. Manejo reprodutivo de bovinos na propriedade rural. Revista PUBVET. v. 5. n 9.ed. 156. art. 1055, 2011. MUNIS DE OLIVEIRA, G. Fisiologia da Reprodução Bovina e Métodos de Controle do Ciclo Estral. Trabalho de conclusão do curso de especialização em Reprodução e Produção de Bovinos–UCB. Rio de Janeiro, Brasil, 2006. NETO, Alberto Chambela. Avaliação da taxa de prenhez de vacas de leite com a utilização de protocolos com e sem a presença de folículos estimulantes. Revista Ifes Ciência-ISSN 2359- 4799, v. 5, n. 1, 2019. NOGUEIRA, E. et al. Nutrição aplicada à reprodução de bovinos de corte. Embrapa PantanalCapítuloem livro científico. Embrapa Pantanal - Capítulo em livro científico (ALICE). ed. 10. p 141-156. 2015. PEGORARO, L. M. C.; SAALFELD, M. H.; WEISSHEIMER, C. F.; VIEIRA, A. D. Manejo Reprodutivo em Bovinos de Leite. Embrapa Clima Temperado, id.13081, 2009. PEIXOTO JUNIOR, K.C. FIRMIANO, A. C. CRESPILHO, A.M. Relação entre reprodução e produção debovinos de leite. Revista PUBVET, Londrina. v 7. n 24. ed 247. art. 1635. 2013. PEREIRA, M.A et al. Parâmetros da Fisiologia reprodutiva e utilização de hormônios na sincronizaçãode estro em vacas leiteiras. Revista VeZ em Minas. a XXII. p 117. 2013. PRATA, M. A.; PEREIRA, M. C.; FARO, L; CARDOSO, V. L. et al. Efeito do intervalo de partos sobre a eficiência produtiva e econômica em rebanhos gir leiteiro. B. Indústr. Anim., Nova Odessa, v.71, n.1, p.1-7, 2014. Rebanho bovino tem leve alta em 2019, após dois anosseguidos de quedas. Agência de notícias IBGE, 2020. Disponível em: . Acesso em: 26, setembro de 2021. RENNO F.P; BARLETTA, R.V.; FRIETAS JUNIOR J.E.; et al. Escore de condição corporal e sua relação com produtividade, saúde e bem estar de vacas em lactação. Em: 1st international Symposium of Dairy Cattle. III Simpósio Nacional de Bovincultrura Leiteira. Universidade Federal de Viçosa, MG. Novembro 2011. RUAS, J. R. M; MENESES, A. C.; CARVALHO, B. C.; QUEIROZ, D. S.; SILVA, E. A. da; FERREIRA, J. J. Sistema de produção de leite com vacas F1 Holandês x Zebu. Informe Agropecuário, v.31, p.63-71, 2010. SANTOS, M de. A. R. Efficiency of two doses of D-cloprostenol for synchronization of estrus in bovines in the different phases of the estrous cycle. Minas Gerais, Brasil. 46 f. 2001. Dissertação (Mestrado em Zootecnia e Recursos Pesqueiros) - Universidade Jose do Rosario Vellano, Alfenas.. SARTORI, R. GUARDIEIRO, M. M. Fatores nutricionais associados à reprodução de fêmea bovina. Revista Brasileira de Zootecnia. v 39. p 422-432. 2010. SCHAFHAUSER JUNIOR, J. PEGORARO, L. M. C. ZANELA, M. B. Tecnologias para sistemas de produção de leite. Embrapa Clima Temperado - Livro técnico. ed 1. p 437. 2016. SOUSA, G. G. T. et al. Monta natural versus inseminação artificial em bovinos. Revista PUBVET. v 6. n35. ed 222. art. 1473. 2012. TRIANA, E. L. C. JIMENEZ, C. R. TORRES, C A. A. Eficiência reprodutiva em bovinos de leite. Revista Eletrônica da Universidade Federal de Viçosa - UFV. v 1. 2012. Artigo eletrônico disponível em: Acesso em: 02 de outubro de 2021. (shrink)

Include Ghidul Comisiei Europene pentru traducătorii din Uniunea Europeană Despre traducere şi traducători, teorii ale traducerilor, traducerea asistată pe calculator, şi software utilizat în traduceri. Include Ghidul Comisiei Europene pentru traducătorii din Uniunea Europeană şi legislaţia specifică traducerilor şi traducătorilor. Fidelitatea (sau loialitatea) şi transparenţa, idealurile duale în traducere, sunt de multe ori în conflict. Problema fidelităţii versus transparenţă a fost formulată şi în termeni de “echivalenţă formală” şi ” echivalenţă dinamică, sau funcţională“. Cele din urmă expresii sunt asociate (...) cu traducătorul Eugene Nida şi au fost iniţial inventate pentru a descrie modalităţi de traducere a Bibliei, dar cele două abordări sunt aplicabile la orice traducere. În general, traducători au căutat să păstreze contextul în sine prin reproducerea ordinei iniţiale a sememelor, şi, prin urmare, ordinea cuvintelor - atunci când este necesar, reinterpretarea structurii gramaticale reale, de exemplu prin trecerea de la starea activă la cea pasivă sau invers. Diferenţele gramaticale dintre limbile cu "ordinea fixă a cuvânului" (engleză, franceză, germană) şi limbile cu "ordinea liberă a cuvântului" (de exemplu, greacă, latină, poloneză, rusă) nu a fost un impediment în acest sens. Caracteristicile sintaxei speciale (propoziţie-structură) a textului în limba sursă sunt adaptate la cerinţele sintactice ale limbii ţintă. Rolul traducătorului în legătură cu un text a fost comparată cu cea a unui artist, de exemplu, un muzician sau actor, care interpretează o lucrare de artă. Traducerea, ca şi alte arte, implică inevitabil alegeri, şi alegerea implică interpretare. CUPRINS: Traduceri - Teorii - - Teoria occidentală a traducerilor - - Tradiţii mai puţin răspândite - - - Orientul Apropiat antic - - - Orient - - - Lumea islamică - Fidelitate versus transparenţă în traduceri - Echivalenţa în traduceri - Traducerea inversă - Traducători - - Traducători interpreţi - - - Notiţe folosite de traducătorii interpreţi - - Traducere umană sau traducere automată pe Internet? - - Traducerea asistată de calculator - Traducerea automată - Traducerea literară - - Traducerea poeziilor - - Traducerea textelor cântecelor - - Traducerea textelor religioase - Traducerea colaborativă - - Relaţia cu cloud computing - Nedeterminarea traducerilor - - Nedeterminarea referinţei - - Nedeterminarea holofrazică - - Observaţii generale - - Distincţie analitic-sintetică - Glosa interliniară - - Structura - - Punctuaţia Traducerea homofonică - Versurile cântecelor - Subtitrarea - - Crearea, livrarea şi afişarea de subtitrări - - Traducerea subtitrată - - - Subtitrarea Internaţionalizare şi localizare - Diferenţe în procesele de internaţionalizare şi localizare în traduceri - Localizarea - - Internaţionalizare, globalizare, localizare - - - Traducere versus localizare - - - Globalizarea versus localizare - - Etichete de limbă şi coduri - Localizarea site-urilor web - - Procesul - - Localizarea în zona de administrare - - Afacerea localizării site-ului - Localizarea jocurilor - - Sarcini şi provocări - - Valori lingvistice - - Tipuri de text şi formate de fişiere - - - Manual - - - Ambalaj - - - Fişier ajutător (readme) - - - Site-ul oficial - - - Dialog pentru dublaj - - - Dialog pentru subtitrare - - - Interfaţa utilizator - - - Arta grafică cu cuvinte - Localizarea socială - - Obiective - - - Localizarea comercială şi necomercială - Pseudolocalizarea - - Procesul de localizare - - Pseudolocalizarea în Microsoft Windows - - Procesul de pseudolocalizare la Microsoft - - Instrumente de pseudolocalizare pentru alte platforme Traduceri asistate de calculator - Aplicaţii - Concepte în traducerea asistată pe calculator - - Software de memorare a traducerii - - Software de limbaj ale motoarelor de căutare - - Software de gestionare a terminologiei - - Software de aliniere - - Traducere automată interactivă - - Traducere colaborativă - Software pentru traducerea asistată pe calculator - - Software - - Formate de fişiere suportate - - SO - - Licenţa - - GlobalSight - - gtranslator - - Lokalize - - MemSource - - MetaTexis - - OmegaT - - Open Language Tools - - Poedit - - Pootle - - SDL Trados - - TM-database - - Virtaal - - Wordfast PRO - - XTM Cloud - Traduceri în/din limba română cu Miscrosoft Word Traducerea automată - Abordări în traducerea automată - - Traduceri automate pe bază de reguli - - - Traduceri automate pe bază de transfer - - - Traduceri automate interlinguale - - - Traduceri automate pe bază de dicţionar - - Traducere automată statistică - - Traducere automată pe bază de exemple - - Traducere automată hibridă Baze de date - Terminologia Interactivă pentru Europa - - Eurodicautom - Google Translator Toolkit - BabelNet - - Statistica BabelNet - - Aplicaţii Dicţionare - Dicţionare bilingve - - Istoria - - Utilizare - - Formate - - Distribuţia - - Dicţionare multilingve - Provocări în domeniul dicţionarelor bilingve - Cărţi de fraze (Ghiduri de conversaţie) - - Structura - - De notat Legea nr. 178/1997 Ghidul UE - Întâi reflectaţi, apoi redactaţi - - Cine va citi documentul? - - Care este rezultatul urmărit? - - Ce trebuie să includă documentul dumneavoastră? - Cititorul are întâietate - - Stil direct şi interesant - Organizaţi documentul - - La început - - Pe parcursul redactării - SOS: Scurt, la obiect şi simplu - - Scurt, la obiect… - - ... şi simplu - - Un stil simplu şi neîncărcat înseamnă, de asemenea: - Fiţi logici – structuraţi-vă frazele - Evitaţi substantivele inutile – formele verbale sunt mai dinamice - Fiţi concreţi, evitaţi abstractizările - Optaţi pentru diateza adecvată - - Acolo unde este necesar, precizaţi agentul - Evitaţi „prietenii falşi”, jargonul, acronimele şi siglele - - Evitaţi „prietenii falşi” - - Evitaţi sau explicaţi jargonul - - Fiţi atenţi la acronime şi sigle - - Înainte de final, revizuiţi şi verificaţi - - Aveţi nevoie de ajutor? Citate Referinţe Despre autor - Nicolae Sfetcu - - De același autor - - Contact Editura - MultiMedia Publishing. (shrink)

Many of the following literary-critical texts (not all quite conventional “long-form” essays) originally appeared on the Landscape Agency New York website, LANY Archive-Grotto, on the web portal Geocities, between the years 1997 and 2008 – i.e., over a period of roughly ten years. Versions of some were published in various journals, academic or otherwise. In re-presenting them here, the intention is to trace a proverbial “red thread” that crosses the entirety of the work, arguably what might be denoted the works-based (...) agency of works, and, arguably, the telltale trace of what is otherwise known as the “life-work,” yet for works versus for authors. -/- The entire, retrospective apparatus of The Editioning of Gardens is also, decidedly, an homage to New York, New York, either where or from where much of the research was undertaken and “lived.” Manhattan, indeed, haunts these pages, directly and indirectly – that is to say, the unparalleled access to libraries, bookstores, universities, galleries, cafés, pubs, restaurants, cinemas, parks, and the streets is quite simply the source for the often-intense, yet suitably critical exegetical works. -/- This book is meant to both recapitulate themes crossing the “life-work” of the works collected, but to also illustrate the transitional gestalt of the 1990s and 2000s, something we collectively have not yet quite exited, and something that still haunts and gives pause to architects and landscape architects today. In naming this collection “The Editioning of Gardens,” the intention is to draw attention to the fact that it is landscape that underwrites almost all architectural interventions, whether acknowledged or denied, and that it is “landscape” – in the widest sense of the word – that we inherently and collectively inhabit. -/- NOTA BENE: -/- While many of the essays and texts presented here have been previously published as “working papers” or “reviews” on the LANY Archive-Grotto website, or in journals and P2P dossiers (i.e., in open-access collections posted to research repositories, here denoted Things Czech and Dossier LANY), their presentation in book form makes them more readily accessible and effectively new works as totality. Most have also been re-edited and re-formatted for inclusion in The Editioning of Gardens. -/- All texts are also dated so as to situate them in the timeframe in which they appeared (or were written), as snapshots or surveys of passing times. While re-edited and re-formatted for presentation here, they have not been re-written as such due to their implied “historic” and “time-based” nature. As collection, however, they function as an (un)timely reminder of critical exegesis as rite of passage – underscoring the significance of the title of the collection. This latter trait is what, ironically, makes the collection contemporary and post-contemporary – timely and untimely at once. (shrink)

The engineering knowledge research program is part of the larger effort to articulate a philosophy of engineering and an engineering worldview. Engineering knowledge requires a more comprehensive conceptual framework than scientific knowledge. Engineering is not ‘merely’ applied science. Kuhn and Popper established the limits of scientific knowledge. In parallel, the embrace of complementarity and uncertainty in the new physics undermined the scientific concept of observer-independent knowledge. The paradigm shift from the scientific framework to the broader participant engineering framework entails a (...) problem shift. The detached scientific spectator seeks the ‘facts’ of ‘objective’ reality – out there. The participant, embodied in reality, seeks ‘methods’, about how to work in the world. The engineering knowledge research program is recursively enabling. Advances in engineering knowledge are involved in the unfolding of the nature of reality. Newly understood, quantum uncertainty entails that the participant is a natural inquirer. ‘Practical reason’ is concerned with ‘how we should live’– the defining question of morality. The engineering knowledge research program is selective seeking ‘important truths’, ‘important knowledge’, ‘important methods’ that manifest value, and serve the engineering agenda of ‘the construction of the good.’ The importance of engineering knowledge research program is clear in the new STEM curriculum where educators have been challenged to rethink the relation between science and engineering. A 2015 higher education initiative to integrate engineering colleges into liberal arts and sciences colleges has stalled due to the confusion and conflict between the engineering and scientific representations of knowledge. (shrink)

Three recent ‘state of the art’ Frankfurt cases are responded to: Widerker’s Brain-Malfunction-W case and Pereboom’s Tax Evasion cases (2 & 3). These cases are intended by their authors to resurrect the neo-Frankfurt project of overturning the Principle of Alternative Possibilities (PAP) in the teeth of the widespread acceptance of some combination of the WKG (Widerker-Kane-Ginet) dilemma, the Flicker of Freedom strategy and the revised PAP response (‘Principle of Alternative Blame’, ‘Principle of Alternative Expectations’). The three neo-Frankfurt cases of Pereboom (...) and Widerker shown to be insufficient for their intended purpose. Of central importance to any account of responsibility is that this applies at the level of the Right and not the Good. Arguments of Carlos Moya are expanded and augmented by considerations from Chisholm, Lucas, Dummett and Lockie (2003) to show that a number of severe problems remain for anyone attempting to resurrect the Frankfurt project. (shrink)

The goal of this article is to compare and contrast the traditional Western versus the postmodern colonization of the mind. How is the current technological age barbaric? I investigate Aimé Césaire’s writings, refer to Lea Ypi’s definition of colonialism, and discuss society’s use of psychopolitics to find the answer.

When it became uncool to speak of beauty with respect to pieces of art, physicists started claiming that their results are beautiful. They say, for example, that a theory's beauty speaks in favour of its truth, and that they strive to perform beautiful experiments. What does that mean? The notion cannot be defined. (It cannot be defined in the arts either). Therefore, I elucidate it with examples of optical experimentation. Desaguliers' white synthesis, for example, is more beautiful than Newton's, and (...) the many colourful syntheses done by Viennese painter Ingo Nussbaumer exemplify even greater beauty. Here are some criteria (which, of course, do not implement a decision procedure concerning beauty in experiments): cleanliness, simplicity, intellectual clarity, symmetry. Similar criteria are relevant to our aesthetical judgements about some pieces of music. So we can assume that our notion of beauty conserning art is related to the one conserning scientific experiments. (shrink)

This dissertation explores the question of whether we bear moral responsibility for our beliefs and how this responsibility is possible. Since we cannot directly choose our convictions, some have argued that we have no obligations concerning what we believe. However, we frequently hold each other accountable for our beliefs. Philosophers have responded to the argument against ‘belief duties’ in various ways. One response is that we are responsible for how we influence our beliefs. Another argues that moral responsibility does not (...) require the ability to choose. A third response claims that we, in fact, do have the ability to choose our beliefs. A fourth suggests that whether we have the freedom to choose our beliefs depends on how ‘belief’ is defined. The central claim of this dissertation is that the first response is incomplete, the second is mistaken, and that the third and fourth are the most promising. This book investigates in depth what ‘belief’ entails. If we understand belief as placing trust in a possible truth in our practical reasoning, rather than having convictions, then we can have both doxastic voluntary control and belief-related obligations. What we believe is crucial to our actions, and therefore, the ethics of belief is deeply connected with the ethics of action. (shrink)

Mayr’s proximate–ultimate distinction has received renewed interest in recent years. Here we discuss its role in arguments about the relevance of developmental to evolutionary biology. We show that two recent critiques of the proximate–ultimate distinction fail to explain why developmental processes in particular should be of interest to evolutionary biologists. We trace these failures to a common problem: both critiques take the proximate–ultimate distinction to neglect specific causal interactions in nature. We argue that this is implausible, and that the distinction (...) should instead be understood in the context of explanatory abstractions in complete causal models of evolutionary change. Once the debate is reframed in this way, the proximate–ultimate distinction’s role in arguments against the theoretical significance of evo-devo is seen to rely on a generally implicit premise: that the variation produced by development is abundant, small and undirected. We show that a “lean version” of the proximate–ultimate distinction can be maintained even when this isotropy assumption does not hold. Finally, we connect these considerations to biological practice. We show that the investigation of developmental constraints in evolutionary transitions has long relied on a methodology which foregrounds the explanatory role of developmental processes. It is, however, entirely compatible with the lean version of the proximate–ultimate distinction. (shrink)

Questions about knowledge in expert sport are not only of applied significance: they also take us to the heart of foundational and heavily-disputed issues in the cognitive sciences. To a first (rough and far from uncontroversial) approximation, we can think of expert ‘knowledge’ as whatever it is that grounds or is applied in (more or less) effective decision-making, especially when in a competitive situation a performer follows one course of action out of a range of possibilities. In these research areas, (...) studies of motor expertise have for many years actively contributed to broader debates in philosophy and psychology (Abernethy, Burgess-Limerick, & Parks, 1994; Williams, Davids, & Williams, 1999). When we navigate the world flexibly and more or less successfully, how much is this due to a capacity to represent it? In considering alternative options, or planning future actions, we seem to transcend our present environment in some way: what is the balance or relation here between highly-tuned bodily dispositions and background knowledge of the world and its patterns? What changes in these regards as we gain experience and adapt to more complex and challenging environments? Is know-how fundamentally different in kind from ordinary factual knowledge of the world, or knowledge-that? And if expertise in a domain does involve or depend on a knowledge base that is somehow more organized or deeper than that of novices, how is this knowledge selectively and appropriately deployed, often under severe time constraints? (shrink)

This article explores the meeting of two approaches towards philosophy and education: the philosophy for children approach advocated by Lipman and others, and Schmid’s philosophical concept of Lebenskunst. Schmid explores the concept of the beautiful or good life by asking what is necessary for each individual to be able to develop their own art of living and which aspects of life are significant when shaping a good and beautiful life. One element of Schmid’s theory is the practical application of philosophy (...) through the notions of Bildung, reflection, prudence and practical wisdom, as well as the requirement for each individual to take responsibility for actively shaping their life as an artwork. In this sense, each person is the artist responsible for living their own beautiful life. We argue that there are useful parallels between Schmid’s concept of the art of living and P4C, such as the ideal of a holistic philosophy that is “lived.” The pragmatic approach of P4C focuses on the embodied learner who practices critical, caring and creative thinking. Both P4C and Schmid’s theory are reminiscent of the Aristotelian notion of practical wisdom, which allows for an approach to an education for life that prepares students to develop their own art of living. (shrink)

Virtue-based moral cognitivism holds that at least some of the value of some art consists in conveying knowledge about the nature of virtue and vice. We explore here a challenge to this view, which extends the so-called situationist challenge to virtue ethics. Evidence from social psychology indicates that individuals’ behavior is often susceptible to trivial and normatively irrelevant situational influences. This evidence not only challenges approaches to ethics that emphasize the role of virtue but also undermines versions of moral cognitivism, (...) because the value of art cannot consist in teaching us about traits that do not exist. We thus recommend a new account of the cognitive value of art: art teaches how context and character interact to produce action. (shrink)

The urgent importance of dealing with the climate crisis has led some influential theorists to argue that at least some demands for justice must give way to pragmatic and strategic considerations. These theorists (Cass Sunstein, Eric Posner, and David Weisbach, all academic lawyers, and John Broome, an academic philosopher) contend that the failures of international negotiations and other efforts to change economic policies and practices have shown that moral exhortations are worse than ineffective. Although Broome's position is similar in these (...) respects to that of Sunstein, Posner and Weisbach, it differs in other important respects, including his understanding of the idea of justice, his disagreement with the policy approach (which he calls "efficiency with sacrifice") favored by the economists Nicholas Stern and William Nordhaus, and his proposal for establishing a new international financial institution, a World Climate Bank, in addition to putting a price on carbon. Elsewhere I offer a critical analysis of the position taken by Posner and Weisbach in their book, Climate Change Justice. Their arguments against allowing principles of distributive justice (narrowly understood) to constrain treaty negotiations fail to rule out the principles of John Rawls' Law of Peoples (which is a conception of the moral basis of a just international order, including states' obligations to secure basic human rights for all). Therefore their arguments against shaping climate treaties to reflect any principles of justice do not succeed in supporting their position. Here I offer a critical analysis of Broome's position. I raise and discuss objections to Broome's proposal for a WCB, and I argue that the continued relevance of these objections is contingent on how the proposal for a WCB may get developed. (shrink)

The argument from illusion/hallucination have been proposed many times as supporting the strong conclusion that we are always perceiving directly sense-data. In Sense & Sensibilia, Austin argues that this argument is based on a “mass of seductive (mainly verbal) fallacies”. In this paper, I argue that Austin's argumentative moves to deconstruct the argument from illusion is better understood if they are seen as due to his implicit commitment to some disjunctivist conception of perception. His considerations should be taken as a (...) depth discussion about how to conceive perception. If we conceive the perceptual capacity disjunctively, even the weaker conclusion that we sometimes perceive sense-data does not hold. In response to Austin, Ayer claimed that the strong conclusion of the argument from illusion could be sustained by the method of the possibility of error. I argue that this method alone does not sustain that conclusion and the controversy turns back to the conflict between different conceptions of perception. The argument from illusion is philosophically interesting by putting in evidence the problem of how the perceptual capacity should be articulated and conceived. Although matters of fact are relevant to this question, they alone do not decide it. (shrink)

Many contemporary artworks include active matter along with rules for conservation that are designed to either facilitate or prevent that matter’s degradation or decay. I discuss the mechanisms through which actual or potential states of material decay contribute to the work’s expressive import. Nelson Goodman and Catherine Elgin introduce the concepts of literal and metaphorical exemplification, which are critical to expression: a work literally exemplifies a property when it both possesses and highlights that property, and it metaphorically exemplifies a property (...) when the properties it literally exemplifies bring that property powerfully to mind. I argue that the literal exemplification of actual or potential states of decay enhances a work’s expressive power by stimulating our bodily and emotional responses to the physical potential of the work’s active matter. Conservation practices, by affecting the properties the work literally and metaphorically exemplifies, are key to the expressive power of works that employ states of degradation and decay. The argument is illustrated through discussion of works by Zoe Leonard, Marc Quinn, and Kara Walker that literally exemplify actually or potentially decaying materials, as contrasted with works by Ai Weiwei and Sam Taylor-Johnson that represent rather than exemplify decaying materials. (shrink)

Arthur Danto’s analytic theory of art relies on a form of artistic interpretation that requires access to the art theoretical concepts of the artworld, ‘an atmosphere of artistic theory, a knowledge of the history of art: an artworld’. Art, in what Danto refers to as post-history, has become theoretical, yet it is here contended that his explanation of the artist’s creative style lacks a theoretical dimension. This article examines Danto’s account of style in light of the role the artistic metaphor (...) plays in the interpretation of the artwork, arguing that it is unable to account for the metaphorical power he claims is embedded within the work of art. An artist’s style issues from a unique perspective, the way an artist inhabits a specific spot in history. Though each person has such a perspective, when applied aesthetically, it is the key to the articulation of a unique historical meaning in the work of art. At the same time, artists’ knowledge of their contribution remains cut off from this perspective, for they are unaware of their self-manifestation of the historical concept of style. This article makes the case that Danto’s notion of style, based on Sartre’s notion of being-for-itself, cannot fulfil the role he allots it in his theory because, at some level, artists must apprehend their style to create a work of art capable of functioning critically as a countertext. It is only through the apprehension of their style, and dialogical activity that takes place between the artist and the beholders, that the unseen body of artworld theory is formed. Without this, when oriented to the aesthetic, style provides no concept or theory for the mind to behold. This article presents an alternative approach to style that recognizes the role of theory in the creation of metaphor, which would circumvent this problem. (shrink)

The encounter of the medieval Muslims with Greek philosophy undeniably shaped the course of their philosophical and theological thought. This encounter led to the complex and contentious issue of ‘philosophy versus theology’. Medieval Muslim thinkers needed to develop a response to the issue of philosophy versus theology. The present article will first highlight the response of the Islamic theologians to their encounter with Greek philosophy in the form of three major trends in medieval Islamic theology: (1) strong opposition (...) to the application of reason and rationalist approach to Islamic doctrines, and strict adherence to the actual text of the Qur’an and the Hadith, (2) the adoption of Greek philosophy, and the application of reason and rationalist approach to explain and defend Islamic religion and (3) acknowledging the significance of reason in exploring the matters related to the natural world but, at the same time, stressing the subordination of reason to revelation. This article will discuss Atharism, Muʿtazilism and Ashʿarism as the representatives of the first, second and third trends, respectively. The response of the medieval Islamic theologians to the issue of philosophy versus theology serves as a context in which medieval Muslim philosophers carried out their philosophy–theology debate. The article will proceed to show that some medieval Muslim philosophers, such as Abu Bakr Al-Razi, subordinated religion or revelation to philosophy or reason. Other medieval Muslim philosophers, such as Al-Ghazali, subordinated philosophy to theology. The third group of medieval Islamic philosophers represented by Alfarabi argued for the reconciliation and harmonious co-existence of philosophy and religion. Contribution: This article highlights the response of medieval Islamic theologians and philosophers to the issue of philosophy versus theology that was caused by their encounter with Greek philosophy. (shrink)

The paper explores the much-neglected but crucial topic of the capacity of art to transcend time.