To explain Paulin J. Hountondji’s intellectual trajectory, I offer a critical account of his conception of the relationship between science and philosophy. Mapping the shift from his well-known critical writings on ethnophilosophy to his later work on scientific dependency is possible only if we recognize that Hountondji conceives of philosophy as essentially a theory of science (Wissenschaftslehre). Adequately characterizing Hountondji’s metaphilosophical orientation, however, requires greater specificity. The two most influential philosophers on Hountondji’s conception of the relationship between science and philosophy, (...) Edmund Husserl and Louis Althusser, would both have assented to the claim that philosophy is fundamentally a Wissenschaftslehre. However, they each adhered to different (and indeed contradictory) understandings of this claim. While Hountondji explicitly recognizes the dual influence of Husserl and Althusser on his conception of philosophy as a theory of science, he does not attempt to resolve the contradictions between Husserl’s understanding of the relationship between philosophy and science and Althusser’s conception of that relationship. By examining Hountondji’s relatively neglected later writings on scientific dependency, it becomes clear that his emphasis on the significance of the history and sociology of science points toward an Althusserian conception of philosophy qua theory of science rather than a Husserlian conception of what it is for philosophy to be a Wissenschaftslehre. (shrink)

People sometimes explain behavior by appealing to an essentialist concept of the self, often referred to as the true self. Existing studies suggest that people tend to believe that the true self is morally virtuous; that is deep inside, every person is motivated to behave in morally good ways. Is this belief particular to individuals with optimistic beliefs or people from Western cultures, or does it reflect a widely held cognitive bias in how people understand the self? To address this (...) question, we tested the good true self theory against two potential boundary conditions that are known to elicit different beliefs about the self as a whole. Study 1 tested whether individual differences in misanthropy—the tendency to view humans negatively—predict beliefs about the good true self in an American sample. The results indicate a consistent belief in a good true self, even among individuals who have an explicitly pessimistic view of others. Study 2 compared true self-attributions across cultural groups, by comparing samples from an independent country and a diverse set of interdependent countries. Results indicated that the direction and magnitude of the effect are comparable across all groups we tested. The belief in a good true self appears robust across groups varying in cultural orientation or misanthropy, suggesting a consistent psychological tendency to view the true self as morally good. (shrink)

The task of this chapter is to investigate and assess Grossmann’s view of the ontological status of categories. It has two dimensions. Because Grossmann does not offer a full discussion of the ontology of categories, we first need to present an interpretation of his view. Our point of departure is Grossmann’s claim that a category is a fundamental property of being (which implies that he holds view 3 above). Our second task is to assess the adequacy of (...) his view. We do this by raising some problems with Grossmann’s account, offering as an alternative view a version of 4 above, and defending it against what we construe as Grossmann’s possible counter-arguments. We argue that the best way to view categories themselves is as ontologically neutral insofar as this opens the way for particular categories to be linguistic entities, mental acts, or properties of extra-mental things. This requires, in turn, a qualified defense of two views rejected by Grossmann—common natures and modes of being. (shrink)

Classic expression theory identified the emotional content of works of art with the feelings of the artists and the recipients. This content thus appeared to be external to the work itself. Consequently, formalism declared it to be irrelevant to a work’s value. A way out of this predicament – one which the Polish aesthetician Henryk Elzenberg (1887–1967) was among the first to propose – was suggested by the idea that physical, sensory objects can themselves possess emotional qualities. Thanks to (...) Bouwsma and Beardsley, this concept – of expressiveness as a quality – became common in Anglo-American aesthetics from the 1950s onwards. At the same time, these authors demanded that the term ‘expression’ be expunged from the language of aesthetics. But the widespread tendency to conceptualize the emotional content of art in terms of the expression of a certain subject (most often the artist) still requires some explanation – interpretation, rather than negation. One interpretation construes the expressiveness of works of art in terms of the expression of a fictitious subject, the ‘work’s persona’, conceived by Elzenberg in the 1950s and 1960s. This article discusses his concept and explains some of its more complex aspects, before addressing the emergence of a very similar concept within Anglo-American aesthetics. This concept was gradually elaborated in the 1970s and 1980s, but only in the 1990s did it become more fully developed and widely discussed. (shrink)

While the philosophers of science discuss the General Relativity, the mathematical physicists do not question it. Therefore, there is a conflict. From the theoretical point view “the question of precisely what Einstein discovered remains unanswered, for we have no consensus over the exact nature of the theory 's foundations. Is this the theory that extends the relativity of motion from inertial motion to accelerated motion, as Einstein contended? Or is it just a theory that treats gravitation geometrically in the spacetime (...) setting?”. “The voices of dissent proclaim that Einstein was mistaken over the fundamental ideas of his own theory and that their basic principles are simply incompatible with this theory. Many newer texts make no mention of the principles Einstein listed as fundamental to his theory; they appear as neither axiom nor theorem. At best, they are recalled as ideas of purely historical importance in the theory's formation. The very name General Relativity is now routinely condemned as a misnomer and its use often zealously avoided in favour of, say , Einstein's theory of gravitation What has complicated an easy resolution of the debate are the alterations of Einstein's own position on the foundations of his theory”, (Norton, 1993). Of other hand from the mathematical point view the “General Relativity had been formulated as a messy set of partial differential equations in a single coordinate system. People were so pleased when they found a solution that they didn't care that it probably had no physical significance” (Hawking and Penrose, 1996). So, during a time, the declaration of quantum theorists:“I take the positivist viewpoint that a physical theory is just a mathematical model and that it is meaningless to ask whether it corresponds to reality. All that one can ask is that its predictions should be in agreement with observation.” (Hawking and Penrose, 1996)seemed to solve the problem, but recently achieved with the help of the tightly and collectively synchronized clocks in orbit frontally contradicts fundamental assumptions of the theory of Relativity. These observations are in disagree from predictions of the theory of Relativity. (Hatch, 2004a, 2004b, 2007). The mathematical model was developed first by Grossmann who presented it, in 1913, as the mathematical part of the Entwurf theory, still referred to a curved Minkowski spacetime. Einstein completed the mathematical model, in 1915, formulated for Riemann ́s spacetimes. In this paper, we present as of General Relativity currently remains only the mathematical model, darkened with the results of Hatch and, course, we conclude that a Einstein ́s gravity theory does not exist. (shrink)

The Polish philosophy of mathematics in the 19th century had its origins in the Romantic period under the influence of the then-predominant idealist philosophies. The decline of Romantic philosophy precipitated changes in general philosophy, but what is less well known is how it triggered changes in the philosophy of mathematics. In this paper, we discuss how the Polish philosophy of mathematics evolved from the metaphysical approach that had been formed during the Romantic era to the more modern positivistic paradigm. These (...) evolutionary changes are attributed to the philosophers Henryk Struve, Antoni Molicki and Julian Ochorowicz, and mathematicians Karol Hertz and Samuel Dickstein. We also show how implicit ideas (i.e., those not declared openly) from the area between the philosophy of science and general philosophy played a crucial role in the paradigm shift in the Polish philosophy of mathematics. (shrink)

According to Grossmann, the high levels of cooperation seen in humans are the result of a “virtuous caring cycle” on which the increased care that more fearful children receive brings increased cooperative tendencies in those children. But this proposal overlooks an equally well supported alternative on which children's anxiety – not a virtuous caring cycle – explains the cooperative tendencies of humans.

Classic expression theory identified the emotional content of works of art with the feelings of their creators or recipients. This content thus appeared to be external to the work itself. Consequently, formalism declared it to be irrelevant to a work’s value. A solution to this dilemma — one which the Polish aesthetician Henryk Elzenberg was among the first to propose — was suggested by the idea that physical, sensual objects can themselves possess emotional qualities. Thanks to Bouwsma and Beardsley, (...) this concept — of expressiveness as a quality — became common in Anglo-American aesthetics from the fifties onwards. At the same time, these authors demanded that the term “expression” be expunged from the language of aesthetics. However, the widespread tendency to conceptualise the emotional content of art in terms of the expression of a certain subject (most often the artist) still requires some explanation — interpretation, rather than negation. One interpretation construes the expressiveness of works of art in terms of the expression of a fictive subject, the “work’s persona”, conceived by Elzenberg in 1950/1960. This paper discusses his concept and explains some of its more complex aspects, before addressing the emergence of a very similar concept within Anglo-American aesthetics. This concept was gradually elaborated in the seventies and eighties, but only in the nineties did it become more fully developed and widely discussed. (shrink)

While wisdom is recognized as a key aspect of human development, it remains unclear how people may be motivated to express and pursue this cherished quality over the course of their development. Here, I investigate the promise of the motivational factors typically covered in Self-Determination Theory (SDT) for offering insights into the expression and development of wisdom. I explore wisdom as conceptualized by the Common Wisdom Model (Grossmann, Weststrate, Ardelt, et al., 2020), which emphasizes moral aspirations and perspectival metacognition. (...) SDT, with its focus on intrinsic tendencies and psychological needs (autonomy, competence, and relatedness), provides a unique lens through which to examine how these wisdom components develop. It offers a view of an agentic person as expressing and developing wisdom in a social context, while navigating life’s difficulties in an unbiased manner. Finally, it offers insight for educational strategies aimed at fostering wisdom, highlighting how an understanding of motivational underpinnings can inform approaches to nurturing wise thinking and behavior. (shrink)

It presents the basics of the “Relativistic theory of gravitation”, with the inclusion of original texts, from various papers, published between 1987 and 2009, by theirs authors: S. S Gershtein, A. A. Logunov, Yu. M. Loskutov and M. A. Mestvirishvili, additionally, together with the introductions, summaries and conclusions of the author of this paper. The “Relativistic theory of gravitation” is a gauge theory, compatible with the theories of quantum physics of the electromagnetic, weak and strong forces, which defines gravity as (...) the fourth force existing in nature, as a static field equipped with the transmitter particles of the virtual gravitons of spins 2 and 0, within the spirit of Galilei's principle of relativity, in his generalization of Poincaré's Special Relativity that allowed the authors to universalize that the physical laws of nature are complied with regardless of the frames of reference where they apply, integrated into the Grossmann-Einstein Entwurf theory, in its further development, by those authors, therefore, this theory preserves the conservation laws of energy-impulse and angular impulse of the gravitational field jointly to the other material fields existing in nature, in the Riemann's effective spacetime, through its identity with Minkowski's pseudo Euclidean spacetime. (shrink)

The Polish philosophy of mathematics in the 19th century is not a well-researched topic. For this period, only five philosophers are usually mentioned, namely Jan Śniadecki, Józef Maria Hoene-Wroński, Henryk Struve, Samuel Dickstein, and Edward Stamm. This limited and incomplete perspective does not allow us to develop a well-balanced picture of the Polish philosophy of mathematics and gauge its influence on 19th- and 20th-century Polish philosophy in general. To somewhat complete our picture of the history of the Polish philosophy (...) of mathematics in those times, we here present the profiles of some lesser-known Polish Romantic philosophers of the 19th century, namely Karol Libelt, Bronisław Trentowski, and Józef Kremer. We discuss their contributions to the philosophy of mathematics and their metaphysical perspectives, and we also show how their metaphysical ideas have found some continuity in the studies of some Catholic philosophers. (shrink)

Klasyczne teorie ekspresji, identyfikując treści uczuciowe dzieła sztuki z przeżyciami twórcy czy też odbiorcy, zdawały się wyprowadzać je poza dzieło. W konsekwencji formalizm treści takie – jako wobec dzieła zewnętrzne – uznawał za obojętne dla jego wartości i istoty. Sposobem wyjścia z dylematu okazało się dostrzeżenie i uznanie istnienia jakości psychicznych w samych zmysłowo postrzegalnych przedmiotach, a jednym z prekursorów tej idei był Henryk Elzenberg (1937). Koncepcja taka – ekspresywności jako własności – stała się, począwszy od lat pięćdziesiątych, za (...) sprawą Bouwsmy i Beardsleya, szeroko akceptowana w estetyce amerykańskiej. Jednocześnie autorzy ci postulowali całkowite usunięcie terminu „ekspresja” z języka estetyki. Jednak powszechna skłonność do wiązania sztuki z ekspresją domaga się interpretacji. Dostarcza jej koncepcja ekspresywności jako ekspresji fikcyjnego podmiotu, opracowana znowu przez Elzenberga (1950/1960). Później podobne ujęcie wykształciło się w estetyce anglosaskiej, ale dopiero w latach dziewięćdziesiątych doczekało się satysfakcjonującej wersji, stając się koncepcją szeroko dyskutowaną. (shrink)

The thesis that technology is applied science is called by Niiniluoto (1997) the standard view. That is surprising because the identification between technology and applied science has been widely rejected by both historians and philosophers of technology, including Rapp (1974), Bugliarello and Doner (1976), Derry and Williams (1977), Feibleman (1983), Skolimowski (1966), Vermaas et al., (2011), Don Idhe (2013). The reasons of such rejection mainly stem from the fact that technology has historically progressed without the benefit of science, i.e., it (...) has been possible to design technological devices without the explicit and systematic development of the scientific theories and laws that would explain their functioning. Polish philosopher Henryk Skolimowski has attacked this identification based on historical evidence. He argues that in the development of technology, there are many cases wherein technological designs have supported pure scientific research, rather than the other way round if technology were applied science. According to Skolimowski, some cases that dispute the identification of technology as applied science are the design of the transistor, supersonic aircraft, and the Manhattan Project. However, this historical evidence should not persuade us for two reasons: 1) Rejecting the previous scientific research that served as the basis for the said technological designs commits Skolimowski to anachronism. 2) From a realistic perspective of science, technological devices are not only subject to the principles and laws of science, regardless of the extent of our knowledge of them, but incorporate insights on more articulated explanations that while not available at the time of designing, do inspire our practical and theoretical efforts and guide further work. In this paper, we posit that the cases offered by Skolimowski to motivate his rejection of the standard view are far from being conclusive. To this end, we not only critically assess each case but also identify other historical examples that might be even more promising to support Skolimowski's thesis. Finally, we critically deal with those more promising cases and argue for a deflationary interpretation of the standard view. -/- . (shrink)

Presentamos lo básico de la teoría relativista de la gravitación, con la inclusión de textos originales, de varios papeles, publicados entre 1987 y 2009, por sus autores: S. S Gershtein, A. A Logunov, Yu. M Loskutov y M. A Mestvirishvili junto con las introducciones, resúmenes y conclusiones elaborados por el autor de este papel. Esta es una teoría gauge, compatible con las teorías de la física cuántica de las fuerzas electromagnética, débil y fuerte, que define la gravedad como la cuarta (...) fuerza existente en la naturaleza, como campo estático dotada de la partícula transmisora del gravitón virtual de espines 2 y 0, dentro del espíritu del principio de relatividad de Galilei, en su generalización de la relatividad especial de Poincaré que le permitió a los autores la universalización de que las leyes físicas de la naturaleza se cumplen con independencia de los marcos de referencia donde se apliquen. No obstante, integrada a la teoría Entwurf de Grossmann-Einstein, en su desarrollo ulterior, por parte de estos autores, por lo tanto, preserva las leyes de conservación de la energía-impulso y del impulso angular conjuntamente del campo gravitacional y los demás campos materiales existentes en la naturaleza, en el espaciotiempo efectivo de Riemann, mediante su identidad con el espaciotiempo pseudo Euclídeo de Minkowski. (shrink)

It presents the basics of the “Relativistic theory of gravitation”, with the inclusion of original texts, from various papers, published between 1987 and 2009, by theirs authors: S. S Gershtein, A. A. Logunov, Yu. M. Loskutov and M. A. Mestvirishvili, additionally, together with the introductions, summaries and conclusions of the author of this paper. The “Relativistic theory of gravitation” is a gauge theory, compatible with the theories of quantum physics of the electromagnetic, weak and strong forces, which defines gravity as (...) the fourth force existing in nature, as a static field equipped with the transmitter particles of the virtual gravitons of spins 2 and 0, within the spirit of Galilei's principle of relativity, in his generalization of Poincaré's Special Relativity that allowed the authors to universalize that the physical laws of nature are complied with regardless of the frames of reference where they apply, integrated into the Grossmann-Einstein Entwurf theory, in its further development, by those authors, therefore, this theory preserves the conservation laws of energy-impulse and angular impulse of the gravitational field jointly to the other material fields existing in nature, in the Riemann's effective spacetime, through its identity with Minkowski's pseudo Euclidean spacetime. (shrink)