It is commonly the case that sound, epistemological principles such as basic beliefs immediately become regarded as invalid when applied to theistic contexts. I will show that despite this, there is a strong sense of comparability between beliefs in God with beliefs in non-theistic beings and other commonly-held basic beliefs such as qualities of love and trust. To establish that both the belief in the existence of God and the existence of other beings and non-perceptual qualities are justified as evidence (...) in the same way, I will have to establish that they are both what Plantinga calls properly basic beliefs. I will argue that this comparability makes it equally justifiable for the belief in God’s existence in itself to be basic, in the same way that it is with other commonly-held beliefs. This argument does however require strong grounds to prove its viability, so I will be examining and critiquing the arguments which allude to a contradiction of this conclusion. By carefully examining these arguments, I will ultimately attempt to provide further justification for Plantinga’s claim that the mere belief in God is sufficient to be regarded as evident to the self, without needing to be justified through logical arguments. (shrink)

Architectural space has some triggers for unique experiences and one of them is its atmosphere. The atmosphere has an unstable structure, instead of static affectivity, and it feeds on uncertainties of spatial experience. Thus, instead of analyzing the dynamic atmospheres through reductionist definitions, it is necessary to address the existing ontological ambiguity of it. Theories of the atmosphere mostly correspond to physical spaces. However, COVID-19 brings about exponential enhance of digitalization. These digital interactions require a spatial dimension. The atmosphere, as (...) one of the fundamental elements of space, needs attention in digital experiences. This paper aims to explore the perception of the atmosphere in digital space. First, the character of the atmosphere and its role in the architectural space have been reviewed. Later, physical space and digital space were compared in order to build the atmosphere belonging to digital space. Digital space is able to diffuse itself with tensions. We are capable of immediate appreciations, e.g. being inside or outside. Thus, the threshold between bodily experiences and mental emergence becomes the blurred one. Atmospheric interaction can be part of the digital space and this interaction strengthens the spatial dimension of the digital medium. However, instead of producing a simulation of the atmosphere in the physical space, it is necessary to analyze the characteristics of digital space and build a unique atmosphere specifically for it. (shrink)

Herhangi bir şeyi, kendisi dışında başka bir şeyle belirtmek olarak tanımlanabilen metafor; İslâm coğrafyasında, özellikle tasavvuf ve sûfizm çalışmalarında, önemli bir ifade yöntemi olarak kullanılmaktadır. Spesifik olarak edebî hikâyelerin ifadelerine daha güçlü, vurgulu ve manidar bir anlatım katabilmek adına, filozoflar sembolik ya da metaforik anlatım ve ifadelerden faydalanmışlardır. İslâm filozoflarından, yoğun olarak bu ifade dilini kullananlar başta Mevlânâ Celâleddîn-i Rumî olmak üzere; İbn Sînâ, Ahmed el-Gazâlî, Şehabeddîn Sühreverdî ve bu çalışmada üzerinde duracağım Mollâ Câmî (Mevlânâ Nureddîn Abdurrahîm el-Câmî)'dir. Mollâ Câmî; (...) Leyla ile Mecnun, Yûsuf ile Züleyha, Salaman ile Absal gibi derleme mesnevîleri İranlı klasik şairlerin sonuncusu sayılmasının yanı sıra Nefâhatü'l-üns kitabıyla birlikte tasavvuf felsefesinin de önemli kaynak ve bilginlerindendir. Bu çalışmada da Mollâ Câmî'nin eserlerinde bir ifade dili niteliğinde kullandığı metaforik anlatım ve ifadelere, bunların kullanım alanlarına, örneklendirmelerle değinilecektir. (shrink)