An essay, which I wrote for the catalog to the exhibition “ARCHESCAPE: the Piranesi Flights,” organized by the Dutch Piranesi scholar Gijs Wallis de Vries. The text, which is necessarily kept short, uses notions of the magnificent and the tragic that I discovered in Hartshorne’s Aesthetic Diagram as discussed in “The Ages of Beauty.”.

Though feminists are correct to note that conventional standards of sexiness are oppressive, we argue that feminism should reclaim sexiness rather than reject it. We argue for an aesthetic and ethical practice of working to shift from conventional attributions of sexiness to respectful attributions, in which embodied sexual subjects are appreciated in their full individual magnificence. We argue that undertaking this practice is an ethical obligation, since it contributes to the full recognition of others’ humanity. We discuss the relationship (...) of ethical to aesthetic considerations and argue that the respectful notion of sexiness is a genuinely aesthetic one, even though it does not involve assessment in relation to standards. (shrink)

I say: “Oh, what a beautiful surrealist picture!” With quite precise awareness: this páthos, these emotions of mine do not stem from our common sense. An aesthetic judgment is founded on an immediate subjective intuition: an emotion or a free feeling of a single subject towards an object. A universal sense, possibly. Some judgments of ours in ethics and in law are no different from our perceptions in front of art. It would be the same for a hypothetical sentence of (...) the judge that concluded with these words: “I acquit Arsenio Lupin because of his magnificent handlebar moustache like that of Guy de Maupassant”. Everyone would think intuitively that it is an unfair sentence. Is there aesthetics of terror? The case that the article intends to examine is that of the famous kidnapping and murder of the Italian statesman Aldo Moro by the “Brigate Rosse” [Red Brigades] (1978). The method used here consists in studying the image of the kidnapping as iconic documentation of reality, and, above all, as an ethical-legal judgment about the terrorist crime. Moro was photographed during his kidnapping. There are at least two pictures. Both constitute an extraordinary source for a judgment on the basis of an image. In both of them, Aldo Moro is pictured in front of a Red Brigades banner during the captivity. In what sense do these pictures document an aesthetic judgment concerning the “case Moro”? The answer can be found in a remarkable iconic coincidence of these pictures with a masterpiece by Georges Rouault (Paris 1871-1958) devoted to the theme of the “Ecce Homo”. The Gospel in the “Ecce Homo” scene (John: 19, 4-5) narrates how Pontius Pilate wanted to arouse the compassion of the people with a scourging and the exposure of Jesus to the crowd. The plate under consideration is entitled “Qui ne se grime pas?” [Who does not have a painted face?] and is a key work in Rouault’s suite of prints Miserere, dated for 1923. (shrink)

Extensive scientific, philosophical and artistic activities were carried out in the Islamic World’s various science and civilization centers during the early Middle Ages. In these centers, noteworthy works of mathematics, astronomy, geography, medicine, pharmacology, optics, botany, chemistry and other fields of science, which would later determine improvement paths for these fields, were created. Abu al-Izz Ismail ibn al-Razzaz al-Jazari (12th-13th centuries), was a magnificent Muslim scientist known for his work named The Book of Knowledge of Ingenious Mechanical Devices (Kitab fi (...) ma‘rifati’l-hiyal al-handasiyya) and he was born in geography where many scientists were trained. He contributed to the development of science and civilization, the joint legacy of humanity and demonstrated his true capability and success in the field of ilm al-hiyal (the scientific field which addresses the information and practices regarding mechanical technology and engineering in Islamic science history). From this perspective, it is evident that al-Jazari had a wide field of interest, made his mark in the age he lived in with his brave and innovative ideas, and was a wise engineer. al-Jazari’s detailed descriptions and explanations of water clocks, oil lamp clocks and water pumping machines, as well as their construction, were astounding. In addition, al-Jazari’s studies on metal casting techniques, cone valves, wheel balance and the real-world use of aspiration tubes are important in contemporary engineering studies. When all these are considered, it becomes clear that his designation as the “Leonardo da Vinci of the Islamic World” is not a coincidence. Many studies on al-Jazari’s scientific legacy have been conducted in various parts of the world. There are various manuscripts of his aforementioned book. Based on these manuscripts, the work has been -fully or partially- translated into many languages, including Turkish. The German and English translations served as a basis for studies on al-Jazari in other languages. In recent years, studies conducted on al-Jazari in Türkiye (books, articles, domestic and international symposiums, congresses etc.) have demonstrated his brilliance and competence as a scientist. Furthermore, studies on al-Jazari are still ongoing in Türkiye. As for Russia, the scientific legacy of the scientists raised in the Islamic World such as Avicenna, al-Farabi, Abu Bakr al-Razi, Abu Rayhan al-Biruni, Abu al-Qasim al-Zahrawi, Muhammad ibn Musa al-Khwarizmi, al-Battani, al-Kashi, Abd al-Rahman al-Khazini, Nasir al-Din al-Tusi was researched within the scope of a special plan and program. Depending on the relevant studies, al-Jazari and his work drew attention as well. A small portion of the aforementioned Russian studies is known in Türkiye. It is safe to assume that al-Jazari studies in Russia are virtually unknown in Türkiye. The present study primarily aims to contribute to the literature on the scientific legacy of al-Jazari, a Middle Age Islamic scientist best known for his famous work in the mechanical field. More specifically, the present study aims to: 1) to identify the studies on al-Jazari in Russia, and in the former USSR countries, where academic studies are still in Russian after the Soviet Union period, to create a chronological biography and to set forth their compilation; in other words, to create a bibliography which includes Russian studies on al-Jazari; 2) to provide information on the structure and content of the studies in question, to detect the methodological issues encountered in these works, and make solution recommendations to solve these issues; 3) to contribute to continuing and future studies in Türkiye on al-Jazari in terms of source and material index. In conclusion, it should be stated that comparative reading was conducted centered on The Book of Knowledge of Ingenious Mechanical Devices (Kitab fi ma‘rifati’l-hiyal al-handasiyya). It should also be noted that Russian popular internet publications (which are not based on academic research and are created/reproduced for commercial and personal purposes) were excluded from the assessment. (shrink)

Is it about energy?! This paper consists of the analysis of the construction of the Fierza's dam, built on the Drin river bed in 1978. During the study of the dam construction scheme and later during the design of the projects, various problems were taken into account, such as the geological conditions of the area where the hydropower plants were erected, the construction materials, the most suitable solution for the type of dam, the auxiliary works, their construction, sequence and time. (...) For centuries, the world's water resources have been developed to benefit mankind. The construction of dams in order to create reservoirs has served many purposes. These are some common uses such as water supply, hydroelectric power, flood control, irrigation, and navigation. The dams are also used to regulate the flow of water in rivers. Water can be released from the reservoir during drier seasons to support wildlife and the environment downstream, and to provide a resource for human uses. Dams have long been viewed as a symbol of human ingenuity and among them is the Fierza's dam, one of the greatest achievements in Albania. During the period of the construction of the dam, Albania was in difficulty to finance the design and the implementation of such works that envisaged large dams. Regardless of everything, the small state of Albania managed to build magnificent hydropower works with great economic value and a high technical and scientific level, such as Fierza's hydropower plant. This paper aims to show the importance of the construction of Fierza's dam in the production of energy in the country with an annual average output of 1,330 GWh. Also, the importance of Fierza, besides energy production, relates to the capacity of its lake, which regulates the annual inflows, increasing the efficient use throughout the cascade. (shrink)

Summary: Throughout the history of science, indeed throughout the history of knowledge, unification has been touted as a central aim of intellectual inquiry. We’ve always wanted to discover not only numerous bare facts about the universe, but to show how such facts are linked and interrelated. Large amounts of time and effort have been spent trying to show diverse arrays of things can be seen as different manifestations of some common underlying entities or properties. Thales is said to have originated (...) philosophy and science with his declaration that everything was, at base, a form of water. Plato’s theory of the forms was thought to be a magnificent accomplishment because it gave a unified solution to the separate problems of the relation between knowledge and belief, the grounding of objective values, and how continuity is possible amid change. Pasteur made numerous medical advancements possible by demonstrating the interconnection between microorganisms and human disease symptoms. Many technological advances were aided by Maxwell’s showing that light is a kind of electromagnetic radiation. The attempt to unify the various known forces is often referred to as “The Holy Grail” of physics. Some philosophers have even suggested that providing explanations is itself just a sort of unifying of our knowledge. But while unification (like simplicity) has often been hailed as a tremendous virtue in science, the meaning of the term is not altogether clear. Scientists often don’t specify what, precisely, they mean by unification. And in cases where what they mean is clear, different thinkers plainly mean different things by the term. What are the various senses of unification, and why has unification been such an important aim in the history of inquiry? (shrink)

Animals, the beautiful creatures of God in the Stoic and especially in Porphyry’s sense, need to be treated as rational. We know that the Stoics ask for justice for all rational beings, but there is no significant proclamation from their side that openly talks in favour of animal justice. They claim the rationality of animals but do not confer any rights to human beings. The later Neo-Platonist philosopher Porphyry magnificently deciphers this idea in his writing On Abstinence from Animal Food. (...) Aristotle’s successor Theophrastus thinks that both animals and humans are made up of the same tissues, and like a human, animals also have the same way of perception, reasoning and appetites. My next effort would be to decipher how Porphyry illustrates Theophrastus’ perspective not in the way (the technical theory of justice) the Stoics argued. Porphyry’s stance seems more humanistic that looks for the pertinent reasons for treating animal rights from the contention of justice that Aristotle, in his early writings, defied since animals can deal with reasons. The paper highlights how much we could justificatorily demand empathetic concern for animals from the outlook of the mentioned Greek thinkers and the modern animal rights thinkers as quasi-right of animals, even if my position undertakes the empathetic ground for animals in an undeserving humanitarian way. (shrink)

This essay takes a critical look at aesthetics as the basis for nature preservation, presenting three reasons why we should not rely on aesthetic foundations to justify the environmentalist program. First, a comparison to other kinds of aesthetic value shows that the aesthetic value of nature can provide weak reasons foraction atbest. Second, not everything environmentalists want to protect has positive aesthetic qualities. Attempts have been made to get around this problem by developing a reformist attitude towards natural aesthetics. I (...) argue that these approaches fail. Third, development can be as aesthetically positive as nature. If it is simply beauty we are looking for, why can't the beauty of a wellconstructed dam or a magnificent skyscraper suffice? (shrink)

The mythical bronze creature Talos (Greek: Τάλως) was worshiped initially as the god of light or the sun in the Hellenic Island of Crete. He is supposed to have lived in the peak Kouloukona of the Tallaia Mountains in the Gerontospelio cave. His relation towards bronze and fire and his continuous voyage circling the island of Crete most probably introduces the concept of the change of the four seasons. The sun was considered in the area of the South-East Mediterranean nations (...) as just judge, a guardian who monitors and judges from above all the actions of the commoners, a controller for the faithful application of laws in Crete [1]. Hesychios in his Lexicon notes that talos means sun and that the name Tallaios was initially attributed to Zeus [2]. The birth of the Olympian gods forged a new Pantheon and nomenclature forcing some of the old gods to fell into lower deities. This happened to Talos who soon became a mythical hero [1]. According to Apollodorus, the bronze creature was forged by the magnificent constructor Hephaestus as a gift to the mythical King Minoa to help him guard the island [3]. Although the verb “peritrohazo” (Greek: περιτροχαζω) was used, meaning a movement in a steady orbit (track), some depictions image him as a winged being. To protect the island, he was throwing rocks into unknown ships or in the case of a foreign landing he was burning with fire or with his flamed bronze body the intruders. He was holding copper plates with the laws of the island and his circle allowed him to pass all island sores three times daily [1,4-6]. Plato, speaks of him as a real person, suggesting he was the brother of King Rhadamanthys, thus a son of Zeus [5]. Talos may be considered as the token of the Cretan power, a symbol of technological development in the field of metalworking in prehistoric and Minoan times. An animated, programmed gigantic android to enforce its will. A primitive robot for basic actions having a power source, fire and ichor (Greek: ιχώρ) the sacred fluid in the vessels of the gods. The first manufactured being with his individual intelligence, a primary concept of artificial intelligence (AI) [7]. -/- Homer was the first to introduce the term automata (Greek: αυτόματα), to describe ingenious machines built by the supreme blacksmith god of invention and technology, God of metal and fire, Hephaestus, manufactured devices “acting of one’s own will” as the Hellenic word indicates [8]. Eons later, the humanoid automaton the “Automa cavaliere” (English: Automaton knight) appeared in the court of the nobleman and Duke of Milan Ludovico Maria Sforza. It was the year 1495, when Leonardo da Vinci presented his robotic knight, an innovative construction operated by a series of pulleys and cables, presenting though no individual mind. Although it was manufactured by a highly intelligent polymath, it could only be operated through an outer intelligence [9]. Advancements made during the Fourth Industrial Revolution allowed modern technology to manufacture intelligent machines to aid the field of invasive surgery. One of those most sophisticated devises is the da Vince Surgical Tower. -/- Launched in the setting of the 21st century, the DaVinci System is one of the most commonly employed tools/systems, which has prevailed in the field of robotic-assisted surgery [10]. One could claim that it practically reshaped the concept of surgery, providing doctors with immense capabilities, aiming towards the optimal post-operative outcome. Through visual augmentation, high resolution 3D video, enhanced precision and reduced complication rates [11] the DaVinci Si and the latest DaVinci Xi system have been implemented in a variety of surgeries, including but not limited to general, urologic, gynecologic, thoracic and even cardiac procedures; valve and coronary artery bypass graft operations [12,13]. Da Vinci is cleared globally for cardiosurgery and came in vogue to fulfill the dream of cardiac surgeons to operate in closet chest. It offers in patients the same benefits as those that open chest incision surgery procedures do [14]. -/- The more recent DaVinci Xi model was introduced to counteract commonly known drawbacks of the Si system, such as the inability to simultaneously manipulate the different abdominal quadrants [10]. It consists of four boom mounted robotic arms along with a mobile platform and a master console. The latter with the adaptable intraocular distance, the cushioned headrest, the modifiable arm bars and the flexible finger loops, is meticulously designed to meet the surgeon´s “demands” [12]. Every robotic arm has three degrees of freedom, which combined with the EndoWrist technology to imitate the delicate motion of the surgeon´s hand, acquires an extra seven degrees of freedom. Evidently, the combination of the user-friendly interface, the high-quality 3D intraoperative images, the multiple joints and sensors, as well as the surgeon himself, who can learn to handle the DaVinci Xi Surgical System in a relatively short period of time, has established the model in the surgical armamentarium, paving the way towards a continuously progressive future of minimally invasive and robotic surgery (Figure 1) [12]. -/- History testifies that the nomination of the AI surgical tower as da Vinci was wrongfully given to commemorate a majestic historical figure. It is clear that the mythical creature Talos which was fabricated by the ingenious god Hephaestus was the first true automaton in the line of AI origins. (shrink)

The objective of this article is to demonstrate how the historical debate between materialism and idealism, in the field of Philosophy, extends, in new clothes, to the field of Quantum Physics characterized by realism and anti-realism. For this, we opted for a debate, also historical, between the realism of Albert Einstein, for whom reality exists regardless of the existence of the knowing subject, and Niels Bohr, for whom we do not have access to the ultimate reality of the matter, unless (...) conditioning it to the existence of an observer endowed with rationality, position adopted in the Interpretation of Complementarity – posture that was expanded in 1935 when Bohr assumed a “relationalist” conception, according to which the quantum state is defined by the relationship between the quantum object and the entire measuring device. This is an extremely important debate, as it further consolidates the results of nascent Quantum Mechanics, guaranteeing Bohr the leadership of the orthodoxy based on the interpretation of complementarity. Here, when dealing with Quantum Theory, we will not make any distinction between the terms Quantum Physics, Quantum Theory or Quantum Mechanics. The entire discussion will be held under the name “Quantum Theory”. Theory that tries to analyze and describe the behavior of physical systems of reduced dimensions, close to the sizes of molecules, atoms and subatomic particles. We hope that the reader will appreciate the genius of these two titans in this field of Physics when they magnificently formulate the arguments that support the object of their defenses. (shrink)

‘...if you learn to think like Peter Cave – with freshness, humour, objectivity and penetration – you will have been amply rewarded.’ :::: Prof. Felipe Fernandez-Armesto, University of Notre Dame __________________ Chapter Titles:>>> ___ 1 Lao Tzu: The Way to Tao >>> 2 Sappho: Lover >>> 3 Zeno of Elea: Tortoise Backer, Parmenidean Helper >>> 4 Gadfly: aka ‘Socrates’ >>> 5 Plato: Charioteer, Magnificent Footnote Inspirer – ‘Nobody Does It Better’ >>> 6 Aristotle: Earth-Bound, Walking >>> 7 Epicurus: Gardener, Curing (...) the Soul, Ably Assisted by Lucretius >>> 8 Avicenna: Flying Man, Unifier >>> 9 Descartes: With Princess, With Queen >>> 10 Spinoza: God-Intoxicated Atheist >>> 11 Leibniz: Monad Man >>> 12 Bishop Berkeley, ‘That Paradoxical Irishman’: Immaterialist, Tar-Water Advocate >>> 13 David Hume: The Great Infidel or Le Bon David >>> 14 Kant: Duty Calls, Categorically >>> 15 Schopenhauer: Pessimism With Flute >>> 16 John Stuart Mill: Utility Man, With Harriet, Soul-Mate >>> 17 Søren Kierkegaard: Who? >>> 18 Karl Marx: Hegelian, Freedom-Fighter >>> 19 Lewis Carroll: Curiouser and Curiouser >>> 20 Nietzsche: God-Slaying Jester, Trans-Valuer >>>> 21 Bertrand Russell: Radical, Aristocrat >>> 22 G. E. Moore: Common-Sense Defender, Bloomsbury’s Sage >>> 23 Heidegger: Hyphenater >>> 24 Jean-Paul Sartre: Existentialist, Novelist, French >>> 25 Simone Weil: Refuser and Would-Be Rescuer >>> 26 Simone de Beauvoir: Situated, Protester, Feminist >>> 27 Ludwig Wittgenstein: Therapist >>> 28 Hannah Arendt: Controversialist, Journalist? >>> 29 Iris Murdoch: Attender >>> 30 Samuel Beckett: Not I >>>. (shrink)

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

Shihab al-Din al-Suhrawardi was born around 1154, probably in northwestern Iran. Spurred by a dream in which Aristotle appeared to him, he rejected the Avicennan Peripatetic philosophy of his youth and undertook the task of reviving the philosophical tradition of the "Ancients." Suhruwardi's philosophy grants an epistemological role to immediate and atemporal intuition. It is explicitly anti-Peripatetic and is identified with the pre-Aristotelian sages, particularly Plato. The subject of his hikmat al-Ishraq --now available for the first time in English--is the (...) "science of lights," a science that Suhrawardi first learned through mystical exercises reinforced later by logical proofs and confirmed by what he saw as the parallel experiences of the Ancients. It was completed on 15 September 1186 and at sunset that evening, in the western sky, the sun, the moon, and the five visible planets came together in a magnificent conjunction in the constellation of Libra. The stars soon turned against Suhrawardi, however, who was reluctantly put to death by the son of Saladin, the sultan of Egypt, in 1191. (shrink)

I argue that biographical information is akin to other non-aesthetic, social, historical, or political information. As such, artist’s biographies are always relevant and important when interpreting art. While the meaning and value of a piece of art is not determined by any single piece of contextual information, neither is its meaning and value ever entirely separated from context. In some cases, however, a piece of art that is technically magnificent may be experienced as repugnant when the artist has committed egregious (...) acts. (shrink)

Aesthetic transfiguration, as described by Nietzsche, is the capacity of art to alchemize the meaningless sufferings of natural existence into the aesthetically magnificent struggle that is human ‘life’. Like Nietzsche, Schopenhauer assessed ‘art from the perspective of life’. As Schopenhauer is standardly read, however, his conception of aesthetic experience has little in common with that offered by Nietzsche. Against the standard reading, this chapter argues that Nietzsche’s psychology of aesthetic experience—and in particular his idea that aesthetic transfiguration invests human experience (...) with positive value—is essentially an elaboration of insights owed to Schopenhauer. (shrink)

Although most cultures have held honorableness to be a virtue of the first importance, contemporary analytic ethicists have just begun to consider honor’s nature and ethical worth. In this essay, I provide an analysis of the honor ethos and apply it to business ethics. Applying honor to business may appear to be a particularly challenging task, since (for reasons I discuss) honor has traditionally been seen as incompatible with commerce. Nonetheless, I argue here that two of the central virtues of (...) the honor ethos—competiveness and magnificence—are perfectly apt ones for rich business executives, who plausibly can be expected to work more for prestige and the thrill of competition than for wealth itself. In addition to making top executives more honorable people, the virtues of competitiveness and magnificence would have positive social effects: honorable competitiveness would intrinsically dispose executives to shun anti-competitive practices, and magnificence would encourage tycoons to redistribute their fortunes voluntarily through philanthropy. (shrink)

Although we cannot find any Aesthetics system in the works of NISHIDA Kitarõ (1870-1945), the most significant and influential Japanese philosopher of the twentieth-century, one of his central themes is the role of art and aesthetics in relation with morality and religion. His aesthetics approaches are magnificent examples of his aim to overcome the innate dualism that sustains modern epistemology and a door, apparently hidden, to a better understanding of all his speculative scheme of philosophy. This paper attempts to throw (...) light to the importance of the first aesthetic approximation developed by Nishida eleven years before the publication of Zen no Kenkyû [ 善 の?究 ] (An Inquiry into the Good) (1911) and twenty-three years before the publication of the more accurate system of aesthetics that we read in Geijutsu to dôtoku [芸術 と 道? ] (Art and Morality) (1923). We will analyze the small essay entitled "Bi no Setsumei" [美 の?明] ("An explanation of Beauty") (1900) and Nishida's first definition of beauty as muga [無我] (self-effacement or ecstasy). (shrink)

Eyal Shahar’s essay review [1] of James Penston’s remarkable book [2] seems more inspired playful academic provocation than review or essay, expressing dramatic views of impossible validity. The account given of modern biostatistical causation reveals the slide from science into the intellectual confusion and non-science RCTs have created: “…. the purpose of medical research is to estimate the magnitude of the effect of a causal contrast, for example the probability ratio of a binary outcome …” But Shahar’s world is simultaneously (...) not probabilistic, but of absolute uncertainty: “We should have no confidence in any type of evidence ….. We should have no confidence at all”. Shahar’s "Causal contrast" is attractive. It seems to make sense, but bypasses in two words the means of establishing causation by the scientific method. This phrase assumes a numeric statistically significant “contrast” is causal rather than a potential correlation requiring further investigation. The concept of “causal contrast” is a slippery slope from sense into biostatistical non-science. This can be illustrated with an hypothetical RCT where 100% of interventions exhibit a posited treatment effect and 0% of placebo controls. Internal validity is seemingly quite reasonably assumed satisfied (common-sense dictating the likelihood of an awesome magnificent fraud, bias or plain error of the magnitude required is infinitesimal). Scientific method appears satisfied. The RCT demonstrates: (1) strict regularity of outcome in the presence of posited cause; (2) the absence of outcome in its absence and (3) an intervention (experiment) showing the direction of causation is from posited cause to posited effect. Now travel further down the slope from science. Assume 50% of interventions and 0% of controls are positive. We compromise scientific method, but justify this by assuming a large subgroup which we say surely must on these figures be exhibiting the posited treatment effect. But what of 10% of interventions and 9% of placebo controls exhibiting the posited treatment effect? Our biostatistician says the 1% “causal contrast” is statistically significant. But we have: (1) minimal evidence of regularity; (2) the posited outcome irrespective of presence of posited cause and (3) our intervention is at the highest equivocal in demonstrating any form of causation. This is not science. It is, however, where biostatistics has unthinkingly taken us, as Penston has shown comprehensively [2]. We, the audience of published medical research, are now for the 10% / 9% example well down the slope from science. An unattractive hypothesis results requiring numerous assumptions similar to these:- "There is a 'contrast' which is ‘causal’, albeit the method employed is not scientific. An effect of the intervention has been observed in a very small subgroup. This subgroup is susceptible to treatment. The similar number of placebo controls exhibiting the outcome sought is irrelevant, because the 1% difference between intervention and controls is statistically significant. The statistical analysis is valid and reliable. The RCT’s internal validity is sufficiently satisfied. No funding or bias or fraud has affected the results or their analysis.” As Penston notes: “Confirming and refuting the results of research is crucial to science …. But … there’s no way of testing the results of any particular large-scale RCT or epidemiological study. Each study … is left hanging in the air, unsupported.” It gets worse. To identify a rare serious adverse reaction of a frequency of 1:10,000 can require a trial of 200,000 or larger split between controls and interventions. This is not done. But for every 100 who prospectively benefit from the intervention, 9,900 also receive it. And for every 100 benefiting one person (who likely gains no benefit) will suffer a serious unidentified adverse reaction. This is also without taking account of more common adverse reactions whether serious or otherwise. References [1] Shahar, E. (2011) Research and medicine: human conjectures at every turn. International Journal of Person Centered Medicine 1 (2), 250-253. [2] Penston, J. (2010). stats.con: How we’ve been fooled by statistics-based research in medicine. London: The London Press, UK. (shrink)

Augustine’s Confessions is the autobiographical story of his conversion. So long as conversion is the beginning of a life lived in gratitude towards divine mercy, it is closely connected with confession. Conversion, in fact, is the condition that makes confession possible, while confession is the condition that makes conversion intelligible. As Sacred Scripture teaches, confession can be seen as an act of repentance for sins committed and as an act of praise given to God. It is not a question, however, (...) of two alternative senses, since one implies the other. When man accuses himself of his sins, he thanks God for having created him blameless; when he praises God, he honors his magnificence. In both cases, moreover, the initiative is God’s, inasmuch as his mercy is immense and his virtue incalculable. And man, given his condition as a finite being, could say nothing about it. Since, therefore, God is the true motive, man, in praising him, does no more than repeat, by way of response, the appeal that God himself has addressed to him through the silent language of Sacred Scripture. All this makes conversion intelligible, because it makes it consisting of the creature’s disposition to surrender entirely to the mercy of the Creator who dwells in the depths of his soul. For this reason, praise of God in Augustine’s Confessions resounds as an act of thanksgiving, a gesture of gratitude, a testimony of love for God and for his infinite goodness. (shrink)

This is basically a paper about artistic evaluation and how multiple interpretations can give rise to inconsistent and conflicting meanings. Images like Joel-Peter Witkin’s First Casting for Milo (2004) challenge the viewer to look closely, understand the formal properties at work, and then extract a meaning that ultimately asks, Is the model exploited or empowered? Is Karen Duffy, pictured here, vulnerable and “enfreaked” or is she potentially subversive, transgressive, and perhaps self-empowered? I will offer an argument in agreement with artist/author/ (...) performer Ann Millett-Gallant that favors the latter interpretation, but will augment and complicate the issue by also introducing a pointed question or two taken from a recent analysis by Cynthia Freeland on objectification. I judge the works by photographer Joel-Peter Witkin to be representations of disabled persons who are empowered through agency and pride, but I also worry about the risk of multiple, conflicting interpretations on the part of viewers who do not, or cannot, entertain such enlightened readings. Like second wave feminist views about pornography that depicted women in demeaning ways, or feminist critiques of Judy Chicago’s The Dinner Party , Witkin’s photos can be judged as potentially offensive. But they are also objects of beauty—both in terms of aesthetic properties (they are magnificent studies in black and white, shadows, the human body, with many classical references) and because of the feeling of beauty and pride felt by the posers, who become performers of their own beauty and pride. I argue that beauty trumps offensiveness. Pride wins. But I’m not sure that everyone will agree. (shrink)

Art is the concrete/tangible/substantial materialization of the human creative impulse to convey her/his most vital desires and needs. Art is the channel that facilitates the release of humanity´s imaginative urge that makes life more liveable and more worth enhancing. In a broader sense, we may even contend that human life in its truest essence is art itself. It is the artistic spirit of humanity that sees beauty in the natural environ of earthly existence. The course of life on earth provides (...) magnificent inspiration to the creative human being in the furtherance of the world which s/he started to create millennia ago and has been the focal point of her/his most determined struggles to survive, to improve and to make life more meaningful despite myriads of troubles, adversities and tragedies. (shrink)

The premises for the work herein originally unfolded in the early 1990’s as a personal quest to procure an elucidation capable of satisfactorily reconciling humanity’s intuitive faith in a Supreme Being’s existence, with the scientific cognizance acknowledging the reality of all singular entities that exist in the Universe. At some point, it was deemed essential to construe its analysis in accordance to those theological concepts that could be recognized to substantiate the divine nature ascribed to intrinsically delineate the existence of (...) a Supreme Being which could, in turn, be additionally recognized to correlate to those scientific concepts established to substantiate the universal nature ascribed to intrinsically delineate the existence of all singular entities in the Universe. It was furthermore determined that along the search for God’s footprints in the Universe one should reach for the profundity of wisdom, as the insightful understanding of those ‘ulterior truths’ capable of coherently sustaining their analogous existence. This, in spite of being aware that the absoluteness inferred by discernments of wisdom has been precisely the reason why the scientific community has relentlessly eluded to validate wisdom as a reliable source for the attainment of true knowledge. Hence, true knowledge has been persistently subjected to be solely dependent on established scientific concepts accrued by empirical experience. Nevertheless, humankind has invariably continued to intuitively search for those ‘ulterior truths’ that could possibly sustain the existence of a Supreme Being. Whereby, human beings consistently have throughout time, attested to the sustenance of the invaluable enlightenment of wisdom. “Windows to Wisdom” is a testament of faith and logic that induces the intellect to pry open all windows of intuition, perception and ratiocination for a glimpse of wisdom to the knowledge and understanding of God’s magnificently divine existence. (shrink)

In the late 16th and early 17th centuries, a number of ‘liberal Jesuit scholastics’ produced the last great synthesis of Aristotelian psychology with Christian theology. In this magnificently sympathetic reconstruction of their systems of the soul, Dennis Des Chene rescues Toletus, Suarez, and the other ‘schoolmen’ from neglect which resulted from scornful dismissals by Descartes and his fellows. Deliberating bypassing the political and medical contexts of their work, and focusing almost exclusively on Jesuit rather than other, ‘dissident’ Renaissance Aristotelianisms, Des (...) Chene focusses intensely on intellectual history, what he calls at one point ‘the flurry of subtleties’ of these astonishing systematic commentaries on Aristotle. (shrink)

The distinctive trait of this newest addition to Joseph Margolis’ magnificent oeuvre of thirty books is its broad-ranging and highly partisan approach to evaluating contemporary trends in Western philosophy. The book is divided into three parts. Part 1 addresses the trifecta of competing philosophical traditions: pragmatism, continental philosophy and analytic philosophy. Based on the book’s title, the reader can easily forecast the winner: pragmatism. Margolis directs Part 2 to the goal of reclaiming naturalism as an antidote to the ailments of (...) all three philosophical traditions. Part 3 concerns the enduring challenge that Immanuel Kant’s model of transcendental reason and G. W. F. Hegel’s subsequent critique pose to contemporary philosophy. The book’s thesis is that pragmatism has lost its distinctly American quality. In its more recent incarnations, pragmatism (or neopragmatism) has been continually cross-pollinated with elements in the continental and analytic traditions. Moreover, this open-ended capacity for hybridization is what constitutes pragmatism’s advantage. (shrink)