This paper analyzes the nature of the Star Maker in Olaf Stapledon’s Star Maker, as well as Stapledon’s exploration of the theological problem of evil, as compared with philosophical conceptions of God and their respective theodicies in the tradition of classical theism, as propounded by philosophers such as Aristotle, Plotinus, Augustine, Maimonides, Aquinas, and Avicenna. It argues that Stapledon’s philosophical divergence from classical theism entails that the Star Maker of the novel is more demiurge than true divinity, and that (...) this divergence is integral to the basically amoral character of the Star Maker, as well as the purely aesthetic resolution of the problem of evil articulated in Star Maker. This analysis, in turn, will hopefully bear on future studies touching on the trope of quasi-divinities, evolved and contingent gods, present in the work of other SF authors. (shrink)

The common thread of Pinocchio’s story is his desire to become a human being. Unlike some creators who approached the adventures of Pinocchio in the context of posthumanism the transhumanism embraces technological progress while strongly defending human rights and individual choice. Pinocchio is aware of his incompleteness: he seeks during the story to become „a real boy.” Human consciousness can refer to things that we do not perceive directly. Pinocchio is a „child” without a mother, created by his father to (...) fill his loneliness. He highlights the current problem of the relationship between man and his creation, out of control. (shrink)

Today, dignity recognized as a fundamental value across legal systems is equal, inherent and inalienable, inviolable, is the source of human rights and is essential for its subject to be recognized as an autotelic entity (an end in itself) that cannot be treated as an object. The analysis of the extract from Plato’s Demiurge’s speech in Timaeus reveals that Plato developed a reflection on something that determines the qualitative difference between certain beings and the world of things, and that (...) forms the basis for the special treatment of these beings, which the modern language can reasonably describe as dignity. The attributes of that dignity seem to overlap with the nature of dignity as we know today. What is more, Plato proposes a response to the question of what dignity is like but also to the question of what dignity is. It is the existential perfection, established in a perfect way of existence based on a specific internal unity of being. As the existential perfection, it covers the entire being along with all its features; it is inseparable from being (inherent and inalienable) – without it, it cannot exist. It is primordial to the particular features and independent of their acquisition or loss. Plato’s approach allows, based on the approach to dignity, the formulation of proposals aligned with today’s personalistic standards prescribing that persons be treated as ends in themselves and prohibiting the treatment of persons like objects. (shrink)

Plato’s Timaeus reveals a cosmos governed by Necessity and Intellect; commentators have debated the relationship between them. Non-literalists hold that the demiurge, having carte blanche in taming Necessity, is omnipotent. But this omnipotence, alongside the attributes of benevolence and omniscience, creates problems when non-literalists address the problem of evil. We take the demiurge rather as limited by Necessity. This position is supported by episodes within the text, and by its larger consonance with Plato’s philosophy of evil and responsibility. (...) By recognizing the analogy between man and demiurge, the literal reading provides a moral component that its non-literal counterpart lacks. (shrink)

The Intelligible Living Thing, posited as the model of our visible and tangible universe in Plato’s Timaeus, is often taken for a richly structured whole, which is not a simple sum of its four major parts. This assumption seems unwarranted – most specifically, the dialogue contains no hint at any complex intelligible blue print of the world as a teleologically arranged whole, whose goodness is irreducible to the well-being and individual perfection of its parts. To construe the rich structure of (...) the world is necessary insofar as the Demiurge creates material likenesses of the austere immaterial species. While the life forms included in our universe conform to their intelligible paradigms, this is not, strictly speaking, true about the considerations guiding the Demiurgic activity which gives rise to the universe itself, whose goodness is also to be measured by comparing it to the disordered pre-cosmic matter. The paper discusses several implications of this austere interpretation of the model and its role in creation. It suggests that the Forms that compose the model should be understood as abstract particulars rather than universals, and critically discusses the relation of Timaeus’ account to the so-called Principle of Plenitude. (shrink)

Both current and past analyses and critiques of transhumanist and posthumanist theories have had a propensity to cite the Greek myth of Prometheus as a paradigmatic figure. Although stark differences exist amongst the token forms of posthumanist theories and transhumanism, both theoretical domains claim promethean theory as their own. There are numerous definitions of those two concepts: therefore, this article focuses on posthumanism thought. By first analyzing the appropriation of the myth in posthumanism, we show how the myth fails to (...) be foundational and how we need to rethink the posthumanist mythological framework. We then introduce Haldane’s Daedalus figure as a fruitful analogy to understand the demiurgic posture that critics mean to unveil by first using Prometheus. Daedalus embodies the artisan role, whose status as an inventor for the mighty preserves from the gods' direct opprobrium. Thereafter, we introduce the Camusian Myth of Sisyphus as a competing analogy that ultimately serves as a myth better suited to address the posthumanist position on an existential standpoint. we ultimately show that Sisyphus, as the ‘absurd man’ that Camus claims him to be, is himself the posthuman, thus serving as a more ideal foundational myth for posthumanism and preserving the importance of narrative in posthuman discourses. To conclude, we specifically show that the concept of Sisyphus as a posthuman icon has significance that reaches beyond narrative value to current ecological debates in posthumanism. (shrink)

Radical Enlightenment – Spinoza’s Demiurgic Role in the Formation of the Idea of Enlightenment? In his monograph devoted to the history of enlightenment, Radical Enlightenment. Philosophy and the Making of Modernity (1650-1750) British historian Jonathan Irvine Israel formulated a new theory of dating, sources, and the nature of this period of history. Israel attributed a major role in the formation of the concepts of enlightenment to the philosophy of Spinoza (1632-1677). The work has caused a series of controversies and criticisms (...) concerning the assessment of facts related to the history of ideas. In this article I refer to interpretations of the role of Spinoza’s philosophy and its early reception between 1663-1678 when it had a direct influence. The political situation in the Netherlands in the period of 1648-1677 (i.e. from the gaining of independence to the death of Spinoza) and the fate of the philosophy of Descartes (since 1650) are two significant factors that played an important role in shaping the initial reception of Spinozism and determined the fate of that philosophy for a long time. (shrink)

I argue that Plato believes that the soul must be both the principle of motion and the subject of cognition because it moves things specifically by means of its thoughts. I begin by arguing that the soul moves things by means of such acts as examination and deliberation, and that this view is developed in response to Anaxagoras. I then argue that every kind of soul enjoys a kind of cognition, with even plant souls having a form of Aristotelian discrimination (...) (krisis), and that there is therefore no completely unintelligent, evil soul in the cosmos that can explain disorderly motions; as a result, the soul is not the principle of all motion but only motion in the cosmos after it has been ordered by the Demiurge. (shrink)

I defend, against its more recent critics, a literal, factual, and consistent interpretation of Timaeus’ creation of the cosmos and time. My main purpose is to clarify the assumptions under which a literal interpretation of Timaeus’ cosmology becomes philosophically attractive. I propose five exegetical principles that guide my interpretation. Unlike previous literalists, I argue that assuming a “pre-cosmic time” is a mistake. Instead, I challenge the exegetical assumptions scholars impose on the text and argue that for Timaeus, a mere succession (...) of events and the relations derived from it (before, after, simultaneous with) imply no time, given the narrow definition of the term used in the dialogue. For Timaeus, I explain, time is measurable, regular, and dependent on the motion of the celestial bodies. A mere succession of events like the one needed to understand the creation story and the pre-cosmos requires none of these elements. Readers of Plato erroneously assume that a succession of events implies time, but that is to impose a conception of time absent in the text. The chapter offers a detailed reconstruction of the pre-cosmic stage under a literalist interpretation and argues how it is compatible with the immutable relationship between the Demiurge and the cosmos. -/- This is an open access chapter distributed under the terms of the CC BY-NC 4.0 license. chapter 4. (shrink)

El presente trabajo se propone rastrear la influencia de la tradición platónica Acerca de los primeros principios, en sus diversas formulaciones, sobre la filosofía de Orígenes de Alejandría. La lectura origeniana de los autores platónicos y su afinidad con ellos se confirman en las fuentes históricas. El alejandrino adopta y asimila numerosos aspectos de la doctrina y la terminología de los seguidores de Platón. Sin embargo, también toma distancia de ellos en algunos puntos neurálgicos de su concepción de lo divino (...) y de la creación del mundo. Se analizan especialmente los papeles que cumplen en la teoría origeniana las categorías académicas de lo absoluto y lo relativo, la noción mesoplatónica y filoniana del agente demiúrgico y una original adaptación del esquema causal derivativo neopitagórico. -/- The present paper intends to trace the influence of the Platonic tradition On first principles;, considering its different versions, on the philosophy of Origen of Alexandria. Origen's knowledge of the Platonists and his affinity with them are confirmed by the historical sources. The Alexandrian adopts and assimilates many aspects of the doctrine and terminology of Plato's followers. However, he also departs from them regarding some of the essential elements in his conception of the divine and of the world's creation. Particularly, the paper focuses on the roles played in Origen's theory by the Academic categories of absolute and relative, the Middle-platonic and Philonian notion of the demiurgic agent and an original reframing of the Neopythagorean derivative system of causes. (shrink)

In this paper, we argue that Plotinus denies deliberative forethought about the physical cosmos to the demiurge on the basis of certain basic and widely shared Platonic and Aristotelian assumptions about the character of divine thought. We then discuss how Plotinus can nonetheless maintain that the cosmos is «providentially» ordered.

This paper outlines and discusses the relative merits and problems of two current interpretations of Philosophy of Information (PI), the metaphysical approach and the analytical approach. The paper argues that both approaches complement one another, being normative and mutually compatible.

The relationship between mind and necessity is one of the major points of difficulty for the interpretation of Plato’s Timaeus. At times Timaeus seems to say the demiurge is omnipotent in his creation, and at other times seems to say he is limited by pre-existing matter. Most interpretations take one of the two sides, but this paper proposes a novel approach to interpreting this issue which resolves the difficulty. This paper suggests that in his speech Timaeus presents two hypothetical (...) models of creation, one with an omnipotent demiurge and one where he is limited by matter, so as to investigate their theoretical and empirical validity. Further, he shows that each model is ultimately an inadequate explanation of the first principles of the cosmos. Timaeus’ speech is therefore properly understood to be aporetic: it leaves its listeners aware of the difficulties inherent in the two models of creation, but without a more viable alternative. (shrink)

Following the structuring hints given by Plato in his Timaeus you find, that the dialogue – actually Timaeus' lecture – falls in two parts, not in three as Cornford, Brisson and others suggest. The main division follows the two invocations of the gods (27c, 48d). The first part presents the world in its noetic form, poetically described as the work of the demiurg. Timaeus opens this part giving first his premises in the form of an introduction, which lead his presentation. (...) At the end of this part he remarks that the given premises are not enough for his aim, to explain the nature of man. Therefore he adds other guiding principles for the second part in form of a second introduction like in the first part. We need a third principle beside the real beings (the ideas) and the things we perceive. He names it chora and the new form of "`causation"' ananke, necessity. These supplementary principles anable Timaeus to describe the world under our everyday conditions, they mediate the noetic world with the world of our senses. Here is the point we can see a surprising parallel in Kant's work. The Metaphysische Anfangsgründe der Naturwissenschaft correspond to the first part of the Timaeus, because here Kant exposes too the metyphysical foundation of the sciences. Later, in his last years he remarks, that there is a gap between these metaphysical principles and the physics (say of Newton or other). He seeks for a mediating principle and finds it in the "Äther" or "Wärmestoff." Kant was no more able to bring his idea to an end, we only have a lot of variating attempts, named by editors Opus postumum. But the aim of them is clear – and near by the aim that Plato aimed at – to mediate the noetic structure of the world with our everyday world. And this is evidently equivalent with the second introduction in the Timaeus. -/- Here some pages of the book-version: Erwin Sonderegger, Zur Funktion der Chora in Platons Timaios und des Äthers in Kants Übergangsschrift, Königshausen & Neumann, Würzburg 2015. ISBN 978-3-8260-5837-0. Für allfällige Zitierungen bitte ich nur die gedruckte Ausgabe zu verwenden. Danke. (shrink)

Monotheism is a product of abstract thought. Although it does not exactly overlap with the view of God in today's monotheistic religious beliefs, the thought of God in Ancient Greek philosophy, that is, the creative thought other than the creature, found its cores in Plato's Demiurge [Dēmiourgos], and this thought continued to develop with Aristotle, Plotinus and St Augustine. Thus, it can be said that the Christian faith, which includes the Jewish religion in terms of belief and Greek philosophy (...) in terms of thought, easily managed to gain a place in the medieval world of thought. With the effort to rationalize and ground the Christian faith, philosophy has become an end rather than a means on this path. -/- The translation of Aristotle's logical works (by Boethius) at the beginning of the 6th century gave an important impetus to the grounding of knowledge in sacred texts. However, the real influence of Aristotle occurred after the 13th century. The Crusades (1096-1272) and the Islamic world known through trade played an important role in this because the developments in Western Philosophy until the 13th century were largely based on translations and commentary texts in the Islamic world. In the Middle Ages, the person who was seen as the best commentator of Aristotle and who took the title of "commentator" [Shareh] was Averroes (1126-1198), who was also a member of this productive Islamic world of thought. He is known as the "commentator" because he interpreted Aristotle's works by adhering to his teachings. It is also said that Averroes pioneered Aristotle's recognition by westerners. Averroes’ commentaries are divided into three as long, middle, and short. In long commentaries, he blends Aristotle's philosophy with his own thoughts; he interprets Aristotle's philosophy in the middle commentaries; in short commentaries, he gives a summary of Aristotle's thoughts. -/- Aristotle's philosophy played an active role in shaping the thought system of Averroes. So much so that his epistemology is largely similar to Aristotle's epistemology: The source of knowledge, knowledge of knowledge with causes, the processes of the formation of human knowledge, etc. Here, a point where he differs from Aristotle is the source of knowledge, since he is an Islamic thinker. According to Averroes, God is the source and cause of things, and things are the source and cause of human knowledge. The formation of human knowledge consists of three stages: outer sense, inner sense, and mind. Another important issue of his epistemology, apart from the knowledge produced by man and the knowledge of God, is causality. Through causality, knowledge is formed, and since causality is continuous and necessary, this situation brings order with it. This ensures that the information is verified and thus genuine information is obtained. -/- Averroes’ understanding of ontology is in harmony with the teachings of Islam. He mainly talks about the relationship between philosophy and religion and thinks that these two actually talk about the same reality. He explains that philosophy and religion seem to conflict with the fact that the holy book has two meanings, visible and hidden. Thus, philosophy and religion do not actually conflict and do not say contradictory things. -/- Averroes, who followed Aristotle's way in terms of epistemology and ontology, took Plato as an example, not Aristotle, in his political philosophy for technical reasons. For this reason, his thoughts on state structuring are similar to Plato's The Republic [Politeia]. Averroes’ political philosophy is based on ethics. His thoughts on politics can be summarized with the basic concepts of happiness, justice, and equality. As in Plato and Aristotle, happiness is important for Averroes and the state is responsible for providing and protecting it. For this reason, it describes a virtuous city, and the virtue of justice is, in a sense, the condition of existence for all other virtues. -/- Averroes has been an important thinker for both the East and the West. He played a significant role in the efforts of the Middle Ages to reconcile religion and philosophy and became one of the names that the Western world benefited from most in establishing its bond with Greek thought. Averroes became famous as an Aristotelian commentator, but since he did not know Greek, he got to know Aristotle through translated works and wrote his comments on these translated works. Nevertheless, Aristotle's philosophy played an active role in shaping Averroes’ thought system, as he was an Aristotle commentator. (shrink)

Die Sebastian Franck-Forschung hat sich bisher recht ausführlich mit den Themen "Sebastian Franck als Historiker" oder "Sebastian Franck als Kritiker der Theologie" beschäftigt. Weniger Aufmerksamkeit bekam bisher der Gnostizismus im Denken des radikalen Reformers. Seit der Jahrtausendwende ist allerdings ein stärkeres Interesse an einer bestimmten Strömung des Gnostizismus zu erkennen, nämlich der Hermetik. Es gab einige Arbeiten, die den Einfluss von Hermes Trismegistos bzw. der hermetischen Schriften auf Franck aufzeigen konnten. Dieser Aufsatz geht der Frage des Einflusses des christlichen Gnostizismus (...) auf die Metaphysik von Franck nach. Die Ergebnisse zeigen, dass speziell Basilides und Valentinus einen starken Einfluss auf Franck hatten, der bisher nicht gesehen wurde. Eine große Bedeutung kommt dabei der gnostischen Soteriologie zu. Genauso wie Basilides und Valentinus nimmt Franck die platonische Dreiteilung der Seele in Geist, Seele und Körper an. Der Geist ist göttlich und ist weder entstanden noch kann er vergehen. Diesen Geist oder Christus findet man im Inneren von allen Kreaturen. Durch die Erkenntnis des Geistes oder Christus im Menschen, (=Gnosis) kann sich der Mensch von der Welt befreien. Ebenfalls christlich-gnostisch inspiriert ist der Gottesbegriff und die Lehre von Christus. Franck´s Christologie ist stark von der Nous-Christologie von Basilides beeinflußt, wobei er nicht exakt dem gleichen Doketismus folgt wie Basilides. Dass die Welt vom Demiurgen und nicht von Gott erschaffen wurde, wie Valentinus glaubt, sagt Franck nicht explizit. Franck glaubt aber der Teufel (Demiurg oder böser Engel) habe den Tod und damit die Seele erschaffen, während der unsterbliche Geist des Menschen nicht erschaffen wurde. (shrink)

In the texts that presented the theoretical assumptions of the Parc de La Villette, Bernard Tschumi used a large number of terms that contradicted not only the traditional principles of composing architecture, but also negated the rules of social order and the foundations of Western metaphysics. Tschumi’s statements, which are a continuation of his leftist political fascinations from the May 1968 revolution, as well as his interest in the philosophy of French poststructuralism and his collaboration with Jacques Derrida, prove that (...) terms such as disruption, dissociation, disfunction, disjunctions and dispersion not only referred to architectural problems but also applied to political criticism and the deepest foundations of thinking itself. His collaboration with Derrida manifested itself primarily in the publication La Case Vide: La Villette, 1985, in which the architect’s design drawings and texts explaining his concepts related to the Park de La Villette were accompanied by an extensive essay by Derrida, which included theoretical problems taken up by Tschumi in a philosophical context. Architectural and philosophical issues were also combined during seven discussion meetings organised by Peter Eisenman, invited by Tschumi to collaborate on the design of the Parc de La Villette. Eisenman, who, like Tschumi, invited Derrida to participate in the design of the park and also led to the publication of Chora L Works: Jacques Derrida and Peter Eisenman, in which his ideas were confronted with Derrida’s philosophical text. In this case, Derrida’s essay was not a direct commentary on the architect’s concepts, but rather a reflection on the question of the chôra presented by Plato in Timaeus. During the discussion and in his essay, Derrida pointed out that the chôra is a component of the created world, yet it does not belong to it, but precedes it. The originality of the chôra is so radical that she also precedes all the factors of creating the world, including ideas and the Demiurge. Thus a thesis appeared in the metaphysics of the West that the chôra is a form of active abyss, in relation to which all beings are secondary, both those perfect (as ideas or God) and those created, such as the world, things, people or language. This leads to the conclusion that the chôra does not exist, because all existence is a derivative of the chôra. Nor could the chôra be described, since it is a form of developing a space that is preceded by a lack of space characteristic of the chôra. Derrida intended the chôra to be an instance with an exceptional degree of transcendentalism, an anti-metaphysical instance, but also an a-theological one. However, this attempt failed, both in the field of secular philosophy and in the field of theology. Derrida’s characteristics of the chôra to strengthen its transcendentalism and negation of metaphysics had to be expressed in a language that immediately produces new concepts and a new metaphysics that reproduces the categories of the beginning, the origin or the foundation known from earlier philosophical traditions. All forms of criticism of metaphysics are also inspired by negative, apophatic and mystical theology. The undermining of many concepts of permanent meaning and the introduction of new concepts of unstable meaning, characteristic of the philosophy of deconstruction, had many features of originality, but it was directed towards problems whose solutions repeat, with the use of new vocabulary, the findings known in culture since Democritus. Thus, if apophatic philosophy can be regarded as deconstruction avant la lettre, then deconstruction itself in its late versions began to take on the features of a new religion. The exchange of inspiration between theology and deconstruction was manifested in a series of scientific conferences and publications in which Derrida’s philosophical concepts were interpreted within the scope of religious thought. Theological threads began to be found in such concepts of deconstruction as différance or the chôra, while at the same time Derrida himself undertook in his philosophy to study problems such as the Other (L’Autre) or Impossible (Impossible), which belonged to newer theological traditions. As a consequence of the new problems, the deconstruction became closer to the features of a new religion. Philosophy, at least from Kant’s time, has tried to create a system that would take over from religion the tasks of setting moral and political goals. Similarly, Derrida has directed his interest towards the problems of democracy and ethics, which would enable their renewal. Attempts to create a new religion (cleared of old metaphors), a new community or a new democracy bring problems and threats which may be no less troublesome than the previous systems. All promises of freedom carry with them threats, the greater the more they strive for perfection. The renewal of existential orders, sometimes carried out by means of violent changes, is a certain repetitive feature of human cultures. Deep changes, however, do not protect against the return of both old gods and old demons. Tschumi and Derrida were shaped in their youth by the atmosphere of leftist rebellion against the moral and political limitations of ossified communities and the imperfections of democracy. The ethical theme distinguishes many of their works, including the Parc de La Villette. The opposition to the metaphysical traditions of philosophy and architecture contained in this park was prompted by specific political situations and resulted from bringing political issues to the level of philosophical considerations. Achievements made at the level of pure concepts were then subject to elevation, to a kind of sacralization, which made them religious concepts. The deconstruction reached for the stratus of the new religion especially when it found its followers and began to generate moral obligations. In the new situation, terms such as the chôra, l’autre or the Impossible were absolutized and in relation to them a cult and attitude of adoration emerged. The Parc de La Villtette then gained new post-secular meanings, which allow it to be assigned the function of a Temple of Otherness (L’Autre) and Impossible. (shrink)

In previous chapters, it has become clear that Proclus’ metaphysics is often relevant to human life. In this chapter, that relation is elaborated on in detail, starting from the notion of a ‘textual community’. In the first section, the author presents the Neoplatonic goal of human life, assimilation to the divine. In the second section, he elaborates the scale of virtues through which, according to Proclus, one may reach that assimilation. The third section is devoted to establishing the interesting hypothesis (...) that the philosophical curriculum was in fact considered a mystagogy, aimed at internalizing semantic associations and thereby acquiring the different virtues. In the last section the author turns to Proclus’ political philosophy, and specifically the analogical relation between the philosopher-ruler and the demiurge. (shrink)

An important argument in favour of recognising the cultural relativism and against universality of dignity and human rights, is the claim that the concept of dignity is a genuinely modern one. An analysis of a passage from the Demiurge’s speech in Timaeus reveals that Plato devoted time to reflecting on the question of what determines the qualitative difference between certain beings (gods and human being) and the world of things, and what forms the basis for the special treatment of (...) these beings – issues that using the language of today can be described reasonably as dignity. The attributes of this form of dignity seem to overlap with the nature of dignity as we know it today. Moreover, Plato proposes a response both to the question of what dignity is like, as well as the question of what dignity is. It is existential perfection, rooted in a perfect manner of existence, based on a specific internal unity of being. Dignity is therefore primordial in regard to particular features and independent of their acquisition or loss. Plato’s approach allows him to postulate that people be treated as ends in themselves; an approach therefore that prohibits the treatment of people as objects. Both the state and law are ultimately subordinated to the good of the individual, rather than the individual to the good of the state. -/- Istotny argument na rzecz relatywizmu kulturowego i przeciwko powszechności godności i wynikających z niej praw człowieka, oparty jest na poglądzie, że godność uznana została dopiero w czasach nowożytnych. Analiza fragmentu mowy Demiurga z Platońskiego dialogu Timajos ujawnia, że Platon rozwinął refleksję nad czymś, co stanowi o jakościowej różnicy między pewnymi istotami (bogami i ludźmi) a światem rzeczy, i co jest podstawą szczególnego traktowania tych istot, a co językiem współczesnym zasadnie można określić jako godność. Zbieżna jest charakterystyka tej godności z charakterystyką przyjmowaną współcześnie. Co więcej, Platon daje propozycję odpowiedzi nie tylko na pytanie, jaka jest godność, ale także na pytanie, czym jest godność. Jest ona doskonałością egzystencjalną, ugruntowanym w szczególnie doskonałym sposobie istnienia, opartym na szczególnej wewnętrznej jedności bytu. Jako doskonałość istnienia ogarnia ona cały byt, wszystkie jego cechy; jest nieoddzielalna od bytu (jest przyrodzona i niezbywalna). Jako pierwotna wobec partykularnych cech, jest niezależna od ich nabywania lub utraty. Platońskie ujęcie pozwala w oparciu o ujęcie godności formułować postulaty zbieżne z formułowanymi dziś dyrektywami nakazującymi traktować osoby jako cele same w sobie i zakazującymi traktowania osób w sposób czysto instrumentalny, przedmiotowy. Okazuje się, że – zdaniem Platona – jednostki nie wolno traktować czysto instrumentalnie dla dobra państwa; zarówno państwo, jak i prawo są podporządkowane dobru jednostki. (shrink)

Contents 1 Introduction / 2 The Timaeus on dignity: the Demiurge’s speech / 3 Justice as a virtue / 4 The content of just actions / 5 Justice of the law and justice of the state / 6 Equality / 7 Some key issues in Plato’s conception of justice / 7.1 What is more excellent—justice of the soul or justice of action? / 7.2 Which activity is best and what is its best object? / 7.2. Just actions over contemplation (...) / 7.2. The Timaeus and Plato’s teaching on justice / 7.2. The elderly Cephalus on justice: foreword as epilogue / 7.3 The sharing of wives: testing the interpretation on a ‘hard case’ / 8 Conclusions. (shrink)

The interest of the young Brentano for the philosophy of Plato is linked to his Aristotelian studies. Brentano understands Aristotle’s philosophy in deep continuity with Plato’s one. This continuity is clear in one of the most controversial points of Brentano’s interpretation of Aristotle: the nature of God and the status of human soul. Brentano finds in both Plato and Aristotle a personal, monotheistic and creationistic God who also creates human soul, which is immortal. This approach is explained in some texts (...) from the youth of Brentano, although there are signs indicating that he sustained it until the end of his life. In his interpretation of Plato’s God, we see that Brentano identifies Him with the Idea of Good and the Demiurge. The Idea of Good would have even created the other Platonic Ideas, which should be understood as gods. (shrink)

One of the most widely read books in the world, considered a metaphor for the human condition, and suitable for a variety of interpretations, The Adventures of Pinocchio has had a major impact on world culture. The book responds to a prerogative that belongs only to masterpieces: that of being out of time. The book focuses on the psychological investigation of his central character Pinocchio, while trying to discover a humanity lost in the vacuum of technology and science. The myth (...) of Pinocchio is used to condemn the culture of violence and consumerism. Collodi successfully uses metaphorical interactions, bipolarities, and ambiguous miracles. Pinocchio's identity is often played to the limit, imagined by himself and everyone he meets along the way. Pinocchio is the name of life that is simultaneously inorganic, human and animal. The Adventures of Pinocchio explore how experiences gained in heterotopic space give the individual the ability to change panoramic vision, and how these experiences can ultimately show us how we can recover or restore our existence as individual subjects. -/- CONTENTS: -/- Abstract Carlo Collodi The Adventures of Pinocchio Pinocchio The Myth The Psychology The Duality The Heterotopy The Identity Artificial Intelligence The Humanism The Becoming The Demiurge The Education Bibliography -/- DOI: 10.13140/RG.2.2.20541.38887. (shrink)

L'un des livres les plus lus au monde, considéré comme une métaphore de la condition humaine et adapté à une variété d'interprétations, Les Aventures de Pinocchio a eu un impact majeur sur la culture mondiale. Le livre répond à une prérogative qui n'appartient qu'aux chefs-d'œuvre : celle d'être hors du temps. Le livre se concentre sur l'enquête psychologique de son personnage central Pinocchio, tout en essayant de découvrir une humanité perdue dans le vide de la technologie et de la science. (...) Le mythe de Pinocchio est utilisé pour condamner la culture de la violence et du consumérisme. Collodi utilise avec succès les interactions métaphoriques, les bipolarités et les miracles ambigus. L'identité de Pinocchio est souvent jouée à la limite, imaginée par lui-même et par tous ceux qu'il rencontre en cours de route. Pinocchio est le nom de la vie à la fois inorganique, humaine et animale. Les Aventures de Pinocchio explorent comment les expériences acquises dans l'espace hétérotopique donnent à l'individu la capacité de changer la vision panoramique, et comment ces expériences peuvent finalement nous montrer comment nous pouvons récupérer ou restaurer notre existence en tant que sujets individuels. -/- CONTENU: -/- Résumé Carlo Collodi Les Aventures de Pinocchio Pinocchio Le mythe La psychologie La dualité L'hétérotopie L'identité Intelligence artificielle L'humanisme Le devenir Le Démiurge L'éducation Bibliographie -/- DOI: 10.13140/RG.2.2.31269.63204. (shrink)

The previous issue provided an introduction to ontology in which the word “being,” for example, was used in two different ways. Here we introduce a list that includes the following terms with their precise definitions and comments regarding the use they should be given: to be, as a verb with or without meaning, being as a noun; essence and existence; chaos, demiurge and cosmos; ontology and semiology; ontological tables and Carroll diagrams.

In the Timaeus, Plato tells the story of a divine craftsman who, using the world of intelligibles as a model, produces a living and orderly universe from the pre-existing physical elements. The Demiurge in the cosmological narrative has at various times been identified by interpreters of Plato with the model, the product, or even simultaneously both. I intend to argue that there is a strong basis for Plato’s cosmology to be structurally triadic, that is, between a distinct model, cause, (...) and product. As such, the Demiurge, identified with the cause, can be interpreted as ontologically distinct from his product, the World-soul, as well as the model, the Forms. Thus, the Demiurge must be Sui Generis, ontologically distinct from model as well as product. (shrink)

The Shadow of God in the Philosopher’s Garden. The Parc de La Villette in Paris in the context of the philosophy of chôra I Bernard Tschumi’s project of the Parc de La Villette could have won the competition and was implemented thanks to the political atmosphere that accompanied the victory of the left-wing candidate in the French presidential elections in 1981. François Mitterand’s revision of the political programme and the replacement of radical reforms with the construction of prestigious architectural objects (...) and urban assumptions in the French capital gave Tschumi a unique opportunity to realise ideas that polemicised with traditional forms of social life, questioned the basic principles of architecture and included architectural work in the philosophical disputes over the issues of metaphysics. Tschumi’s theoretical assumptions put forward during the design of the Parc de La Villette highlighted the questions of conflict between the main components of the project and suggested that the intensification of differences was analogous to Jacques Derrida’s creation of the concept of différance. It was this philosopher who in a special commentary to Derrida’s project also introduced the concept of maintenant, which aimed at demonstrating that the architect’s polemical inclinations remain in a hidden balance with his inclinations to affirmation of architectural principles. During the discussion between Derrida and Peter Eisenman, who was to take part in the design of the Parisian park, the concept of the chôra was also put forward, which in the course of the debate led to an additional confusion of architectural and philosophical problems. II In the period from the Antiquity to the Renaissance, the dialogue Timaeus was the most frequently commented work of Plato. At present, the most frequently discussed is the issue of the chôra included in it, which aroused fascination among philosophers, researchers of rhetoric, religion, feminism, but also architecture. The work on the chôra also influenced the development of the interpretation of the Parc de La Villette, among which the topics related to the beginning and the change were highlighted. In early uses of the word chôra in Greek, as in Homer’s 18th Book of Iliad, it meant both dancing and a place to dance. On this occasion, it can be seen that it is not possible to determine which phenomenon took precedence in the creation of the name. It cannot be denied, however, that the word concerned a specific movement, as if circular and returning to an indefinable beginning. Despite gaining more and more general meanings, the word chôra has retained its connection with the dance of people on the threshing floor, the dance of bees (choros meliton) or the dance of stars (choros astron). In Timaeus, the chôra is a space filled with movement with an effect similar to shaking the sieve to husk the grain: it separates similar elements from the dissimilar ones. The juxtaposition of the Parc de La Villette and the chôra already at this stage leads to the suggestion that the park was treated by the architect as a place of dynamic changes leading to the establishment of new social solutions. In his statements, the architect confirmed that the park was to be a space of new politics and ethics. The book by Julia Kristeva La Révolution du langage poétique contributed to the spread of the belief that works of art can play a role as factors of political revolution. In this work, the author put forward the thesis that the chôra is a kind of space, the character of which has a destructive influence on attempts to conclude language games. The chôra gives beginning to words, but at the same time, by leaving a trace of this beginning it forces us to renew their meanings. The chôra understood in this way, turns out to be an irremovable beginning, to which one has to return all the time. Kristeva found manifestations of the chôra’s activity in avant-garde French poetry, to which she attributed the role of a mediator between criticism of metaphysics and aspirations for social change. The chôra, violating the language, introduces some voids into it, as if traces of the abyss, which direct the consciousness towards understanding the necessity of political changes. The Parc de La Villette was to pursue similar objectives in the city space. In his essays, Tschumi considered the problems of creating spaces that would give rise to a radical democracy. The proposed rebellious spaces should have the characteristics of a void, in which contradictory forces would occur as forms of pure activity. The means of achieving this goal was to concentrate contradictions and make them visible. The Parc de La Villette was supposed to collect differences as indelible and at the same time by showing them it was supposed to raise awareness of the social world as a conglomerate of differences. Saturation of the space of the park with subversive values results from the character of this space suppressed in the consciousness, as well as from the social diversity which has not been taken into account so far. The main contradictions contained in space relate to the division that exists between its presentation as a mental problem and a sensual one. The park was the deliberate creation of a place that transcends such a division and creates a separate space for negotiation between architectural theories and its practical applications. The purpose of the park was to become a place of future events, which would not hide their conflicting character coming from diversity of both space and society. The method of composition usually aimed at achieving a harmonious whole has been replaced by Tschumi with a system of juxtaposition of non-coherent elements or those resulting from variations and transformations. Tschumi did not seek direct influence on politics in the Parc de La Villette, but made room for thinking about the possibilities of the future. He introduced problems rather than showed solutions to them. The task of the park was to put the principles of architecture into a kind of vibration that would inspire users to participate in the new community. III Tschumi believes that the quality of architecture depends on the theoretical factor it contains. Such a view led to the creation of architecture that would achieve visibility and comprehensibility only after its interpretation. On his way to creating such an architecture he took on a purely philosophical reflection on the basic building block of architecture, which is space. In 1975, he wrote an essay entitled Questions of Space, in which he included several dozen questions about the nature of space. The questions he formulated could be regarded as analogous to the situation in the philosophy of the time, in which the interest in questioning the most obvious forms of understanding the world and intellectual categories increased. The research on space is an area common to many fields of natural sciences, humanities and artistic creation, but it also deals with other problems, such as issues of experience. The concept of space-time continuum proposed by Hermann Minkowski drew attention to the identity of time and space with the events taking place. Probably regardless of the postulates of physicists commenting on Albert Einstein’s discoveries, also in philosophy it increased the importance of the concept of the event which became dominant in Martin Heidegger’s latest work Contributions of Philosophy: Of the event. Furthermore, Tschumi’s reflections on space entered into relation with the problem of experience, which aroused the interest of a group of French philosophers trying to assimilate Georges Bataille’s concept of “inner experience”. Both Tschumi and Derrida referred to Bataille because his views could be used not only to modify the concept of the subject, but also to change the understanding of what constitutes the area of architecture. The discussion on experience has led to the recognition that the subject is not sovereign, but actually a form of what is on their outside. Such insights make it possible to treat the area of the Parc de La Villette as existing mainly when it is organised by its users. The decisive features of the park are its assumptions, according to which it is a variety of active void that leads to agreeing new social relations with it. The park does not force to participate in already existing moral or political communities, but tries to move into an unknown future in which the scope of free functioning of individuals will be increased. Doubts about the principles of functioning of the individual self and its discovery as a whole composed of non-coherent parts, as well as its dependence on its own depth full of disordered forces, influenced the understanding of architecture as a set of contradictions whose source is a fundamental void anticipating the empty phenomenal space. The use of this phenomenal void in architecture, as well as the rejection of the whole and unity, had a specific political purpose and drew its inspiration from political analyses. In the Parc de La Villette, metaphysics and politics were brought closer together because the philosophy of void was used to create new conditions for community action. It can be argued that the source of this philosophy was the perception of errors in existing societies dependent on the shortcomings of traditional metaphysics. Spacing (espacement) was one of the key terms in Derrida’s philosophy, which was also combined with the concepts of différance and chôra. The study of the nature of space, especially its transition from the level of pure possibility to the level of sensual phenomenon, also contributes to understanding how well designed space can have an impact on its audience. This explanation is based on Tschumi’s assumption that the space of the Parc de La Villette contradicts the integrating approaches and instead exposes contradictions, but it does so in a way that combines incompatible properties into a single piece of architecture. The specificity of such integration is similar to the invention of a musical phrase, which is an ideological message: moral and political. Such a thesis may raise doubts, however, if both the clearly adopted assumptions and those deduced from the work allow for their logically ordered presentation then to a limited extent it may be assumed that the work has achieved a connection between a specific philosophy of space and its practical application. Derrida combined the problem of spatiality with the problem of transcendental imagination in the philosophy of Immanuel Kant, who in the first version of Critique of Pure Reason assumed that pure imagination precedes the appearance of time and space, even in their transcendental forms. The imagination in such a situation can be described as a factor activating time and space, which indicates what function is played by movement in this activity. This leads us to recognize that the ultra originary source of pure forms of sensual intuition is movement, which in early Greek philosophy was identified with void and its lack of resistance to phenomena occurring in it. Derrida’s philosophy in search of a certain super-transcendental source of time and space pointed to différance which, like void or the chôra, does not have material features or even any other form of being. Différance is the primary cause of the disruption of motionlessness and the introduction of activity into motionless time and space, thus its activity can be described as spacing (espacement). Derrida’s discoveries in this respect are not entirely original, because Georg Wilhelm Friedrich Hegel already pointed out when examining the present that it is primarily a differential relation (differente Beziehung), which, being seemingly neutral, influences the present with supernatural force and makes it unidentifiable with itself. Differente Beziehung must similarly influence the originary space, negating its initial character by multiplying its divisions and expanding its boundaries. Différance acts by revealing contradictions wherever there is apparent undifferentiation. Tschumi, composing the Parc de La Villette as a variety of void and a set of incompatible layers, followed the rules of différance or the chôra: he made void visible together with its saturation with contradictions. If space can be considered to be the result of the activity of difference, such activity has a certain regularity, which influences the behaviour of its observers. Differences or contradictions fall into a certain rhythm, which can be considered a manifestation of transcendent order. The problem is that what can be considered the source of such order, namely the logos or God, is partly disorder and error. According to descriptions contained in Timaeus, the world is a combination of forces that drive to order with forces of erroneous necessity that resounds in every order and forces it to return to disorder. Derrida denied the possibility of understanding différance as a theological value, even if it were a negative or apophatic theology, but no categorical denial could be perfect. The assumption that différance or the chôra are not endowed with any substance properties cannot deny their activity, and thus a certain force. Already since Democritus, philosophy has multiplied the names of such a force and the contradictory variety of its manifestations, never forgetting also the necessity for reason to withdraw from the possibility of giving its correct characteristics. Such a withdrawal may be interpreted as an expression of respect and, in certain situations, as a cult of the force that precedes reasonableness. The Parc de La Villette, which is an artistic divagation about the contradictions and forces behind them, can be considered as a place of their sublimation, and therefore as a variation of the temple of what differs from order and disorder. IV In the texts that presented the theoretical assumptions of the Parc de La Villette, Tschumi used a large number of terms that contradicted not only the traditional principles of composing architecture, but also negated the rules of social order and the foundations of Western metaphysics. Tschumi’s statements, which are a continuation of his leftist political fascinations from the May 1968 revolution, as well as his interest in the philosophy of French poststructuralism and his collaboration with Derrida, prove that terms such as “disruption”, “dissociation”, “disfunction”, “disjunction” and “dispersion” not only referred to architectural problems but also applied to political criticism and the deepest foundations of thinking itself. His collaboration with Derrida manifested itself primarily in the publication La Case Vide: La Villette 1985, in which the architect’s design drawings and texts explaining his concepts related to the Parc de La Villette were accompanied by an extensive essay by Derrida, which included theoretical problems taken up by Tschumi in a philosophical context. Architectural and philosophical issues were also combined during seven discussion meetings organised by Eisenman, invited by Tschumi to collaborate on the design of the Parc de La Villette. Eisenman, who, like Tschumi, invited Derrida to participate in the design of the park and also led to the publication of Chora L Works: Jacques Derrida and Peter Eisenman, in which his ideas were confronted with Derrida’s philosophical text. In this case, Derrida’s essay was not a direct commentary on the architect’s concepts, but rather a reflection on the question of the chôra presented by Plato in Timaeus. During the discussion and in his essay, Derrida pointed out that the chôra is a component of the created world, yet it does not belong to it, but precedes it. The originality of the chôra is so radical that she also precedes all the factors of creating the world, including ideas and the Demiurge. Thus athesis appeared in the metaphysics of the West that the chôra is a form of active abyss, in relation to which all beings are secondary, both those perfect (as ideas or God) and those created, such as the world, things, people or language. This leads to the conclusion that the chôra does not exist, because all existence is a derivative of the chôra. Nor could the chôra be described, since it is a form of developing a space that is preceded by a lack of space characteristic of the chôra. Derrida intended the chôra to be an instance with an exceptional degree of transcendentalism, an anti-metaphysical instance, but also an a-theological one. However, this attempt failed, both in the field of secular philosophy and in the field of theology. Derrida’s characteristics of the chôra to strengthen its transcendentalism and negation of metaphysics had to be expressed in a language that immediately produces new concepts and a new metaphysics that reproduces the categories of the beginning, the origin or the foundation known from earlier philosophical traditions. All forms of criticism of metaphysics are also inspired by negative, apophatic and mystical theology. The undermining of many concepts of permanent meaning and the introduction of new concepts of unstable meaning, characteristic of the philosophy of deconstruction, had many features of originality, but it was directed towards problems whose solutions repeat, with the use of new vocabulary, the findings known in culture since Democritus. Thus, if apophatic philosophy can be regarded as deconstruction avant la lettre, then deconstruction itself in its late versions began to take on the features of a new religion. The exchange of inspiration between theology and deconstruction was manifested in a series of scientific conferences and publications in which Derrida’s philosophical concepts were interpreted within the scope of religious thought. Theological threads began to be found in such concepts of deconstruction as différance or the chôra, while at the same time Derrida himself undertook in his philosophy to study problems such as the Other (L’Autre) or the Impossible (Impossible), which belonged to newer theological traditions. As a consequence of the new problems, the deconstruction became closer to the features of a new religion. Philosophy, at least from Kant’s time, has tried to create a system that would take over from religion the tasks of setting moral and political goals. Similarly, Derrida has directed his interest towards the problems of democracy and ethics, which would enable their renewal. Attempts to create a new religion (cleared of old metaphors), a new community or a new democracy bring problems and threats which may be no less troublesome than the previous systems. All promises of freedom carry with them threats, the greater the more they strive for perfection. The renewal of existential orders, sometimes carried out by means of violent changes, is a certain repetitive feature of human cultures. Deep changes, however, do not protect against the return of both old gods and old demons. Tschumi and Derrida were shaped in their youth by the atmosphere of leftist rebellion against the moral and political limitations of ossified communities and the imperfections of democracy. The ethical theme distinguishes many of their works, including the Parc de La Villette. The opposition to the metaphysical traditions of philosophy and architecture contained in this park was prompted by specific political situations and resulted from bringing political issues to the level of philosophical considerations. Achievements made at the level of pure concepts were then subject to elevation, to a kind of sacralization, which made them religious concepts. The deconstruction reached for the status of the new religion especially when it found its followers and began to generate moral obligations. In the new situation, terms such as the chôra, l’Autre or the Impossible were absolutized and in relation to them a cult and attitude of adoration emerged. The Parc de La Villtette then gained new post-secular meanings, which allow it to be assigned the function of a Temple of Otherness (L’Autre) and Impossible. V In the traditional sense, a work of art creates an illustration of the outside world, or of a certain text or doctrine. Sometimes it is considered that such an illustration is not literal, but is an interpretation of what is visible, or an interpretation of a certain literary or ideological message. It can also be assumed that a work of art creates its own visual world, a separate story or a separate philosophical statement. Parc de La Villette represents the last of these possibilities: it is a philosophical statement that develops the premises derived from poststructuralist philosophies and the philosophy of deconstruction. The uniqueness of its being status, however, is that it does so not only at the level of the theoretical assumptions, but also through its functioning as an active philosophical work. This means that a park is a happening philosophy. Its activity, however, does not refer only to the present tense, but is also an attempt to penetrate the future, all otherness and impossibility. This kind of activity assumes that the work, in a sense, does not yet fully exist, but is also still produced in the processes of its interpretation. The theoretical foundations of the park included texts by Tschumi, in which he questioned traditional ways of creating a work of architecture, postulating in return the use of a long series of negations, which were comparable to the crisis of metaphysics characteristic of contemporary philosophy. It is therefore no coincidence that the publication containing Tschumi’s theoretical text on Parc de La Villette was accompanied by an essay by Derrida developing some of the architect’s concepts. The next step in integrating philosophy into the process of park design was a series of discussions between Eisenman and Derrida, who completely moved the creation of the park into the world of thoughts, without accentuating the need for their realization in the material reality. The main topic of these discussions was the problem of the chôra, which was taken up by later commentators and used to interpret the park as a work in which the philosophy of the beginning is manifested relating to issues of politics, morality and religion. The park was therefore interpreted as a space of invention within the scope of creating new rules of functioning of the community and democracy. Thinking about the political future may, however, exceed the horizon of ordinary expectations. Although philosophical thought is always connected with contemporary problems and metaphysics sometimes intertwines with current politics, yet at the same time the customs of philosophy also include crossing horizons and thinking about absolute otherness and impossibility. Initially, the chôra, différance, absolute otherness (tout autre) and the Impossible were concepts of pure philosophy of atheistic character, but with the further development of the discussion, more and more theological motifs began to emerge. One of the reasons for this phenomenon was the fact that radical negations of all being, which were contemplated in contemporary philosophy (by Heidegger and Derrida, among others), had previously been manifested in negative and apophatic theologies (by Master Eckhart, among others).Also the category of the “Other”, taken from Emmanuel Levinas, was clearly connected with the thought about God. A further reason for connecting the chôra with the theological thought was the interest in the philosophy of deconstruction expressed by some theologians. John Caputo in particular managed to persuade Derrida to participate in discussions on the current status of religion. In the late period of Derrida’s writing, further statements on religious topics appeared. All these reasons led to posing a question about the identity of the chôra and God. Although there were no satisfactory conclusions on this issue, the discussion was also important to create an interpretation of the park as a place of worship. The chôra, representing, according to Plato, the preoriginal emptiness is the place of every beginning, but it turns out that it is not neutral to the being created in it. The chôra deposits itself in every being as an irremovable beginning that interferes with its stability. The chôra, therefore, forces us into a palintropical movement, but it also turns out to be a pure compulsion, an erring necessity and a fundamental force from which, in the human perception, motifs useful to the individual and to the community are extracted. All definitions of this force, including its anthropomorphisation, are formulated in such a way that they allow for building private and collective morality upon them. Such definitions are changed depending on variable political situations. It is difficult to determine whether in the processes of changes in the formulation of “God’s names” any essential value is retained, which is not subject to change. The current definitions of the chôra (God?), which can be found, for example, in the philosophy of Caputo, stress that she is a combination of various and contradictory forces. This characteristic inherits much of Plato’s concept, reminds us of Master Eckhart’s views on Gottheit and, at the same time, is not unfamiliar to Tschumi, whose essays were an apologia of contradictions. The current concept of chôra, transferred into the sphere of politics, is the praise of social diversity and the protection of the difference from the forces of order. In the Parc de La Villette, the future community and democracy were elevated as a system of safe existence of individuals in all their singularity. The park is a temple of a future community in which individual beings have nothing in common. (shrink)

In his opening speech, Timaeus (Timaeus27d5-29b1) argues that the cosmos must be the product of a craftsman looking to an eternal paradigm. Yet his premises seem at best to justify only that the world could have been made by such a craftsman. This paper seeks to clarify Timaeus’ justification for his stronger conclusion. It is argued that Timaeus sees a necessary role for craftsmanship as a cause that makes becoming like being.

In this paper I examine the role of optimality reasoning in Aristotle’s natural science. By “optimality reasoning” I mean reasoning that appeals to some conception of “what is best” in order to explain why things are the way they are. We are first introduced to this pattern of reasoning in the famous passage at Phaedo 97b8-98a2, where (Plato’s) Socrates invokes “what is best” as a cause (aitia) of things in nature. This passage can be seen as the intellectual ancestor of (...) Aristotle’s own principle, expressed by the famous dictum “nature does nothing in vain but always what is best for the substance from among the possibilities concerning each kind of animal” (Progression of Animals II, 704b12-18). The paper is focused around exploring three questions that arise in connection with Aristotle’s use of this optimality principle: (1) How do we understand the concept of “the best” at work in the principle? (2) How does Aristotle conceive of “the range of possibilities”? And, finally, (3) what role does optimality reasoning play in Aristotle’s natural science? Is it a special form of demonstration in which the optimality principle functions as one of its premises, or is it a heuristic device that helps uncover those causally relevant features of a natural substances that ultimately serve as middle terms in demonstrations? In the final section I return to the comparison between Plato and Aristotle and argue that, while both see the natural world as the product of an optimizing agent and while both see this assumption as licensing a pattern of reasoning that appeals to a certain conception of “the best”, they disagree fundamentally over what the optimization agent is and how it operates. Thus, despite their general agreement, it would be a mistake to think that Aristotle simply took over Plato’s use of optimality reasoning without significant modifications. (shrink)

Many assume that Plato's Form of the Good is a final cause. This might be true if one assumes an Aristotelian definition of final cause; however, I argue that if one adopts Plato's conception of final causation as evidenced in the Phaedo and Timaeus, the claim that the Form of the Good is a final cause for Plato is untenable.

This book is the first comprehensive study of Plato’s conception of justice. The universality of human rights and the universality of human dignity, which is recognised as their source, are among the crucial philosophical problems in modern-day legal orders and in contemporary culture in general. If dignity is genuinely universal, then human beings also possessed it in ancient times. Plato not only perceived human dignity, but a recognition of dignity is also visible in his conception of justice, which forms the (...) core of his philosophy. Plato’s Republic is consistently interpreted here as a treatise on justice, relating to an individual and not to the state. The famous myth of the cave is a story about education taking place in the world here and now. The best activity is not contemplation, but acting for the benefit of others. Not ideas, but individuals are the proper objects of love. Plato’s philosophy may provide foundations for modern-day human rights protection rather than for totalitarian orders. (shrink)

In this paper the Platonic concepts of Goodness, Belief and Will as they appear in the passage 29d–30a of the Timeaus, are examined . The main intention is, through this examination, to explore whether –and, if yes, why- these notions constitute essential elements of Plato’s theology.