My aim in this paper is to show that the existence of empty names raise problems for the Millian that go beyond the traditional problems of accounting for their meanings. Specifically, they have implications for Millian strategies for dealing with puzzles about belief. The standard move of positing a referent for a fictional name to avoid the problem of meaning, because of its distinctly Millian motivation, implies that solving puzzles about belief, when they involve empty names, do in fact hang (...) on Millian assumptions after all. (shrink)

Venus im Pelz is not just a book on masochism, love or the conflict of the sexes, but is also, in its own way, a work that aims to ridicule the philosophy par excellence, that in particular of Kant and Hegel, the great Fathers-Masters of philosophy, capable with their systems to rationalize the theme of voluntary submission, restoring the threatened order. In this direction, the same masochistic subversion, which with Severin had attempted to symbolically depose the Father, as the (...) historical-political-cultural antecedent of Law and power, nevertheless appears destined to recompose, thanks to philosophy and its history, the product themselves of patriarchal speculations, always prompted to cage any singulariity prone to deviate from the trajectory traced by civilization. It is within this patrolling infrastructure that Severin, after «that cruel catastrophe of my life», will continue his existence, converted, from «rebelled by submission», into a new reactionary Father who now uses the whip with women, and that, now healed with its «moral steadiness [...] I learned to work, to fulfill duties» - tamed «with the Kantian ethics of the dignity of moral value that tunes with the Hegelian ethics of the redemption of the servant through the objectification of labor», does not realize that he has become himself an object of power, so that one day he may peacefully die in a rational and productive way. (shrink)

This research presentation examines the overlooked causes of conflict and conflict escalation between managers and employees. The paper proposes emphasis on the need of a paradigm shift in the conflict management approach of managers.

In his book The Things We Mean, Stephen Schiffer advances a subtle defence of what he calls the ‘face-value’ analysis of attributions of belief and reports of speech. Under this analysis, ‘Harold believes that there is life on Venus’ expresses a relation between Harold and a certain abstract object, the proposition that there is life on Venus. The present essay first proposes an improvement to Schiffer’s ‘pleonastic’ theory of propositions. It then challenges the face-value analysis. There will be (...) such things as propositions only if they possess conditions of identity and distinctness. By analyzing Frege’s theory of propositions (Gedanken), I argue that such conditions may be found for the special case of beliefs and sayings advanced as premises and conclusions of deductive arguments. These conditions, however, are not applicable to most ordinary beliefs and sayings. Ordinary attributions and reports, then, do not place thinkers and speakers in relations to propositions. A bonus is exposure of the fallacy in the Putnam-Taschek objection to Frege’s theory of sense and reference. (shrink)

Since the stone age humankind has created masterworks which possess a mysterious quality of solidity and grandeur or monumentality. A Paleolithic Venus and a still life by Cezanne both share this monumentality. Michelangelo likened monumentality to sculptural relief, Braque called monumentality 'space', and Hans Hoffman, himself one of the masters, called monumentality 'pictorial depth.' The masters agreed on the import of monumentality, but none of them left a clear explanation of it. In 1943 Earl Loran published his classic book (...) on Cezanne's pictorial structure but, as I demonstrate, his explanation was misleading. This book provide a clear explanation, as did an earlier book by Robert Casper. This book also traces some history of monumentality with reproductions. It also explains how some painters achieved monumentality and how a student can attempt it. Pictorial space is created in the tension between pairs of opposing planes. Opposing planes pull against each other, each containing the other, paradoxically, within the flat surface of the canvas. Sculpture also can be 'plastic': opposing masses pull against each other, each containing the other and creating tension in the space which lies between them. Painting has other aspects like subject matter, expression, style and technique but pictorial space does not depend on these. Monumentality moves us profoundly and apparently has done so since the Paleolith. Using patients' vignettes, I show that there are profound parallels between the structure of a monumental work of art and the structure of an evolving personality. In Winnicott's words, such a personality has 'depth ... an interior space to put beliefs in ... an inside ... a space where things can be held ... the capacity to accept paradox [to contain opposites] ... room and strength ... and originality and the acceptance of tradition as the basis for invention'. A monumental painting also meets this description. I argue that monumental art provides a visual portrait of an evolving personality just as myth, as Freud and Jung both showed, provides a narrative portrait of an evolving personality. An evolving personality is perhaps humankind's most important creation; an underlying purpose of both myth and art is to help us achieve it. I demonstrate in this book that monumental art represented the evolving personality since at least 35,000 BC. Thus to understand monumentality is to better understand the personality and its history. (shrink)

● Un emplazamiento cualquiera (v. gr. sol en Tauro; Marte en Capricornio; Mercurio en la tercera casa) es necesariamente común a decenas de miles de personas. Saturno hospedado en la novena casa, por ejemplo, no se comportará de la misma manera o no producirá los mismos efectos en las veinte o cien cartas en que allí lo encontremos, sino en concordancia con el resto de la composición astrográfica (como hospedarnos en el mismo hotel en diferentes épocas o diferentes personas haber (...) contraído la misma enfermedad; nuestra estadía será diferente cada vez, según la época, y no todos los enfermos presentarán los mismos síntomas, según su metabolismo; por no mencionar que cada astrografía, como cada código o secuencia genética, es irrepetible). Ciertamente, “ningún planeta puede, por sí solo, producir lo que solamente la acción mancomunada o conjunta de todos puede” (BUSTAMANTE, 2023, revista SPICA, págs. 93-111). He aquí la naturaleza o condición sinérgica del ejercicio interpretativo (i.e., el todo es poco más que la suma de todas sus partes). ● El componente fundamental de la expresión matemática del ejercicio interpretativo lo constituye la triangulación astrológica, denominación funcional de lo que conocemos como síntesis (WEISS, 1946; LEO, 1983; HAND, 1981). ● Con el fin de demostrar su utilidad, así como la conveniencia de su expresión matemática, hemos escogido dos individuos (JEFFREY DAHMER, STEVEN SPIELBERG) cuyas astrografías no explican, según la comunidad, sus vidas. El resto de las astrografías corresponden a las de los asesinos en serie JOHN WAYNE GACY, DAVID CARPENTER y TED BUNDY. ● A través de notaciones algebraicas, explicamos la síntesis y los valores funcionales que la componen. ● Tomamos la luna y Neptuno como planetas relevantes a propósito del diagnóstico o el estudio de asuntos endocrinos o neurohormonales y a Marte, Plutón y Saturno como planetas relevantes a los fines de inferir violencia o comportamiento siniestro, según el caso, y las cuadraturas u oposiciones —y conjunciones— entre Venus y la luna, la luna y Neptuno o entre el sol o Venus y Neptuno o Urano como indicadores de desórdenes neurohormonales y/o de desviación sexual (definición APA) . ● Consideramos las cuadraturas u oposiciones —y conjunciones— entre: Mercurio o la luna y Saturno, o entre Marte o la luna y Saturno, Urano, Neptuno y/o Plutón como poderosos indicios de violencia o de desequilibrio, según el caso. ● También hemos considerado a Sagitario como un signo tan expansivo y abundante como su regente, Júpiter, según la mejor de sus caracterizaciones (o excepcionalmente raudo y salvaje, según otras), y a la quinta región de un mapa natal como una estrechamente relacionada con la fortuna en sentido amplio (material e inmaterial). ● Debido a que defendemos la idea según la cual los orbes deben predicarse del planeta (tamaño, velocidad), no del aspecto, a los gigantes gaseosos (Júpiter, Saturno, Urano y Neptuno) y al sol les hemos concedido hasta 10º de orbe (o 12º, en el caso de la influencia amplia ). ● Entendemos las relaciones aspectuales como relaciones angulares sostenidas entre dos o más cuerpos celestes emplazados en signos con al menos una propiedad en común (según nuestra teoría molecular de la eclíptica, compatible con la teoría óptica de los aspectos de la tradición helenística). (shrink)

● Any given placement (e.g. Sun in Taurus; Mars in Capricorn; Mercury in the third house) is necessarily common to tens of thousands of people. Saturn in the ninth house, for example, will not behave the same or produce the same effects in the twenty or one hundred charts in which we find it there. In each case Saturn will behave in accordance with the rest of the astrographic/chart composition (as if we stayed in the same hotel in different epochs (...) or different people contracted the same disease; our stay will be different each time, according to the epoch, and each person’s symptoms will too, be different, according to their individual biochemistry; not to mention that each chart or astrography, like each genetic code or sequence, is unrepeatable). Certainly, “no planet can produce, on its own, what only the combined or concerted action of all can” (BUSTAMANTE, 2023, SPICA magazine, pp. 93-111). Hence the synergistic nature of the interpretative exercise (i.e., the whole is greater than all its parts). The fundamental component of the mathematical expression of the interpretive exercise is: astrological triangulation, the functional denomination for what we know as synthesis (WEISS, 1946; LEO, 1983, HAND, 1981). In order to demonstrate its usefulness, as well as the convenience of its mathematical expression, we have chosen two individuals (JEFFREY DAHMER, STEVEN SPIELBERG) whose astrographies do not—according to the community—explain their lives. The rest of the astrographies correspond to those of serial killers JOHN WAYNE GACY, DAVID CARPENTER, and TED BUNDY. ● We explain, by means of algebraic notations, the synthesis and the functional values that make up the synthesis. ● We take the Moon and Neptune as relevant bodies for the purpose of diagnosing or studying endocrine or neurohormonal issues, and Mars, Pluto, and Saturn as relevant planets for the purpose of inferring violence or sinister behaviour, upon the case, and quadratures or oppositions—and conjunctions—between Venus and the Moon, the Moon and Neptune, and the Sun or Venus and Neptune or Uranus as indicators of neurohormonal disorders and/or sexual deviance (APA definition) . ● We consider quadratures (90º) or oppositions (180º)—and conjunctions—between Mercury or the Moon and Saturn, or between Mars or the Moon and Saturn, Uranus, Neptune, and/or Pluto as powerful indications of violence or mental disorders, upon the case. ● We have also regarded Sagittarius as a sign as expansive and abundant as its ruler, Jupiter, according to the best of its characterisations (or as an exceptionally swift and wild sign, according to other characterisations), and the fifth region of a natal chart as one closely related to fortune in a broad sense (material and immaterial). ● Because we advocate the idea that orbs should be predicated of the planet (size, speed), not the aspect itself, the gas giants (Jupiter, Saturn, Uranus, and Neptune) and the Sun have been granted up to 10º of orb (or 12º, in the case of broad influence ). We understand aspectual relationships as angular relationships held between two or more celestial bodies placed in signs with at least one property in common (according to our molecular theory of the ecliptic, compatible with the optical theory of the aspects from the Hellenistic tradition). (shrink)

In this paper I argue that, in order to make (T1) and (T2) compatible within a Fregean approach, we must reject the view that all modes of presentation are senses. (T1) There is a diversity of ways in which Venus may be presented to each subject, and which are associated with the name ‘Venus’. (T2) There is only one Fregean thought expressed by the sentence ‘Venus is a planet’. Modes of presentation are essentially psychological and have causal (...) powers on minds. The mind of a subject is sensitive to differences in modes of presentation, so that if an object is presented to a subject under different modes of presentation and she has no reason to believe that they are modes of presentation of one and the same object, then she may take opposing attitudes involving those different modes of presentation. In contrast, senses are essentially semantic. For this reason, I propose that they be understood as certain ways of determining the reference of terms, and either are given by the semantic rules for those terms or are identical to those semantic rules. I agree with McDowell that an interpretive truth-theory for a language L gives us a theory of sense for L, and that something like (V) ‘Venus’ refers to Venus will give us the axiom which assigns the semantic value for ‘Venus’ within such a theory, and which is necessary in order to derive the interpretive truth-conditions of a sentence like ‘Venus is a planet’. An axiom like ‘Venus’ refers to Hesperus will not do within a theory of sense. Nonetheless, it will do within a theory of reference, a truth-theory which delivers not interpretive truth-conditions, but purely referential truth conditions. The purely referential truth-conditions for an indicative atomic sentence are, I claim, those which are specified by specifying those features in the world (objects, properties, etc.) to which the meaningful parts of the sentence refer, representing them as related in a certain way. For the specification of such truth-conditions, the difference in cognitive value between two sentences will not matter, whereas it will matter for the specification of interpretive truth-conditions. Now, senses are introduced to allow for an explanation of the difference in cognitive value between sentences with the same purely referential truth-conditions. An indication of when two sentences differ in cognitive value is when it is possible for a subject who is rational and understands the language in question to take opposing attitudes to those sentences (or their contents —whatever those contents are); and if there is in fact such a subject who takes opposing attitudes to those sentences, then those sentences differ in their cognitive value. Given this connection between cognitive value and a subject’s attitudes, and given the purpose for which senses are introduced, we must suppose that a subject’s mind must be sensitive to differences in senses, and so, that senses must be psychologically relevant. My proposal, which aims to establish some kind of identity between some modes of presentation under certain conditions and those ways of determination which are senses, is as follows: A psychological mode of presentation M is a way of determination which is a sense relative to a particular expression e in a public language L which aids in expressing propositional attitude P if and only if i the subject who has M and who is sufficiently competent in L knows (or realizes) that M goes with e in L; ii no other proposition e′ in L is more adequate for reporting the subject’s propositional attitude P; iii M is crucial in the subject’s rational failure to make certain identifications; and iv M is an appropriate function to an appropriate reference. Only the mode of presentation associated with ‘Venus’ that satisfies conditions i-iv relative to ‘Venus’ which aids in expressing a propositional attitude like the belief that Venus is a planet, will be the sense of ‘Venus’. I argue that only the mode of presentation of Venus as Venus will do, and that such mode of presentation is implicit in the way of determination shown by (V). Other modes of presentation of Venus as being big or appearing in the sky in the evenings or being the second planet in proximity to the sun will not satisfy conditions i–iv. Thus, although a subject may have all these modes of presentation of Venus and associate them with ‘Venus’ (i.e. (T1)), only the mode of presentation of Venus as Venus will do as the sense of ‘Venus’. Hence, only one thought will be expressed by a sentence like ‘Venus is a planet’ (i.e. (T2)). (shrink)

Ante estas obras de Victoria Diehl es fácil pensar en conocidos modelos anatómicos en cera o en la iconografía de Venus y Evas de las que un vistazo rápido a cualquier libro de historia del arte nos mostraría múltiples variantes. Algo de todo ello hay aquí. Pero también hay algo que hace que los espectadores se detengan a pensar. Algo más allá de lo reconocible que hace que las lenguas del pasado se muevan a un ritmo actual. Hermes, al (...) trasladar sus mensajes los interpreta, los adapta al interlocutor y al medio; los transforma, los traduce, los recrea. Y logra ponernos en movimiento. [...]. (shrink)

Born in 1315, Shamseddin Mohammad, known as Hafiz, grew up in the city of Shiraz where he studied the Qur’anic sciences. In his youth he learned the Quran rigorously and assumed the epithet ‘Hafiz’ which means the one who knows the Quran by heart. Also known as the ‘Tongue of the Hidden’ and the ‘Interpreter of Secrets’, Hafiz utilizes grand religious ideas and mingles them with Sufistic teachings, thereby creating a kind of poetry which baffles interpretation. The poetry of Hafiz (...) has intoxicated and continues to intoxicate many in the world. The exhilarating effect of his poetry was also known to the poet himself. In one of his poems, he says that the angels are memorizing his poems in heaven and that Venus is enraptured and that Christ rjoices in his songs: “What marvel that in heaven are sung/ The dulcet words by HAFIZ strung?/Or that, by Venus’s air entranced,/Messiah in his sphere has danced?” As Friedrich Nietzsche has said of Hafiz: “Bist aller Trunkenen Trunkenheit/ wozu, wozu dir-Wein? (the intoxication of all intoication you are/what need do you have to ask for wine?)”. (shrink)

I confront Feyerabend's position and critical rationalism in order to have a foundation or starting point for my (historical) investigation. The main difference of his position towards falsificationism is the belief that different theories cannot be discussed rationally. Feyerabend is convinced that Galilei's observations with the telescope in the historical context of the Copernican revolution supports his criticism. In particular, he argues that the Copernican theory was supported by deficient hypotheses, and falsifications were disposed by ad hoc hypotheses and propaganda. (...) Furthermore, he claims that his philosophy of science reconstructs Galilei's defence of the Copernican theory. He introduces a central principle of his position (the principle of tenacity) in order to justify a research strategy of not eliminating falsified theories. He tries to show that the tenacious defence of a theory corresponds to Galilei's defence of the Copernican theory. Remarkably, Feyerabend's approach to explain the development of science earns an important support from his interpretation of Galilei's observations. On this basis I give a falsificationist interpretation of Galilei's observations with the telescope, and oppose this interpretation to Feyerabend's. From a falsificationist perspective, auxiliary hypotheses compete during the Copernican revolution which can (with some effort) be critically discussed. Then I analyse the historical case in order to test Feyerabend's interpretation of the Copernican revolution. Inter alias I investigate thoroughly whether Galilei, as Feyerabend claims, immunised falsifications of the Copernican theory by the introduction of ad hoc hypotheses. The investigation considers Galilei's explanation of Venus' phases, his establishment of the irradiation hypothesis, the explanation of the telescope's functionality, and the role of the reproducibility of the observations with the telescope. Finally I provide a rational reconstruction of Galilei's falsification of the Ptolemaic theory. The formalisation shows that Galilei was not a cautious critical rationalist, but a very confident scientist using the method of falsification. (shrink)

If Tahiti suggested to theorists comfortably at home in Europe thoughts of noble savages without clothes, those who paid for and went on voyages there were in pursuit of a quite opposite human ideal. Cook's voyage to observe the transit of Venus in 1769 symbolises the eighteenth century's commitment to numbers and accuracy, and its willingness to spend a lot of public money on acquiring them. The state supported the organisation of quantitative researches, employing surveyors and collecting statistics to..

In mathematical languages and in predicate logic coreferential terms can be interchanged in any sentence without altering the truth value of that sentence. Replacing 3 + 5 by 12 − 4 in any formula of arithmetic will never lead from truth to falsity or from falsity to truth. But natural languages are different in this respect. While in some contexts it is always allowed to interchange coreferential terms, other contexts do not admit this. An example of the first sort of (...) context is likes bananas: for any two coreferential noun phrases A and B the sentence A likes bananas is true if and only if B likes bananas is. A context that does not allow intersubstitution of coreferents is The Ancients knew that appears at dawn. If we fill the hole with the noun phrase the Morning Star we get the true (1a), while if we plug in the Evening Star we get the false (1b). Yet the Morning Star and the Evening Star both refer to the planet Venus and are thus coreferential. (shrink)

The Louvre Museum is the largest of the world's art museums by its exhibition surface. These represent the Western art of the Middle Ages in 1848, those of the ancient civilizations that preceded and influenced it (Oriental, Egyptian, Greek, Etruscan and Roman), and the arts of early Christians and Islam. At the origin of the Louvre existed a castle, built by King Philip Augustus in 1190, and occupying the southwest quarter of the current Cour Carrée. In 1594, Henri IV decided (...) to unite the palace of the Louvre with the palace of the Tuileries built by Catherine de Medicis. The Cour Carrée was built by the architects Lemercier and then Le Vau, under the reign of Louis XIII and Louis XIV. The Department of Paintings currently has about 7,500 paintings (of which 3,400 are exposed), covering a period that goes from the Middle Ages to 1848 (date of the beginning of the Second Republic). By including the deposits, the collection is, with 12,660 works, the largest collection of ancient paintings in the world. With rare exceptions, the works after 1848 were transferred to the Musée d'Orsay when it was created in 1986. CONTENTS: Louvre Museum - Variety of exhibited works - The Royal Palace - The collections - - Eastern antiquities - - Arts of Islam - - Egyptian Antiquities - - Greek, Etruscan and Roman Antiquities - - Paintings - - - French school - - - Northern Schools (Flanders, Netherlands, Germany) - - - Italian School - - - Other schools Painting - Definitions - Painting genres - - The landscape - - Still life Paintings - FRANCOIS BOUCHER - - Vulcan presenting arms to Venus for Aeneas - RAPHAEL - - Portrait of Baldassare Castiglione - RUBENS - - Helena Fourment with children - LOUIS DAVID - - Madame Récamier - REMBRANDT - - Portrait of Heindrickje Stoffels - VELAZQUEZ - - Portrait of the Infanta Margarita - SIMONE MEMMI - - Jesus Christ walking on Calvary - JAN STEEN - - The Bad Company - HANS HOLBEIN - - Erasmus - CORREGGIO - - Mystic Marriage of Saint Catherine - LANCRET - - Conversation - JAN VAN DER MEER (VERMEER) - - The Lacemaker - VAN DYCK - - Charles I at the Hunt - FRANÇOIS CLOUET - - Elisabeth of Austria (1554-1592), Wife of Charles IX and Queen of France (1570 - 1574) - DELACROIX - - The Barque of Dante - EL GRECO - - Saint Louis, King of France, and a page - REMBRANDT - - Pilgrims at Emmaus (The Supper at Emmaus) - GERARD DAVID - - Marriage at Cana - RAPHAEL - - Portrait of Dona Isabel de Requesens, Vice-Queen of Naples - RUBENS - - La Kermesse (The Village Fête, or Noce de village) - FRANS HALS - - The Gypsy Girl - DECAMPS - - The Sonneurs - HOLBEIN THE YOUNGER - - Anne of Cleves - P. PRUD’HON - - Psyche transported to Heaven - PHILIPPE DE CHAMPAIGNE - - Portrait of Richelieu - LANCRET - - The Autumn - L. DAVID - - Madame Seriziat - COROT - - Recollection of Mortefontaine - LEONARDO DA VINCI - - La belle ferronnière - CORREGGIO - - Venus and Cupid with a Satyr - WATTEAU - - Pilgrimage to Cythera (The Embarkation for Cythera) - NICOLAS POUSSIN - - The Inspiration of the Poet - PRUD’HON - - The Empress Josephine (1763-1814) - FRAGONARD - - The Bathers - H. RIGAUD - - Louis XIV (1638–1715) - TERBURG - - The Concert - LEOPOLD ROBERT - - The Pilgrimage to the Madonna of the Arch - LARGILLIERE - - Family Portrait - MANTEGNA - - Parnassus - MEMLING - - The Virgin and Child between St James and St Dominic - FRAGONARD - - The Music Lesson - JEAN VAN EYCK - - The Virgin of chancellor Rolin - PAOLO VERONESE - - Susannah and the Elders - FRANÇOIS BOUCHER - - Diana leaving her bath - GÉRICAULT - - The Raft of the Medusa - MURILLO - - Assumption of the Virgin - CLAUDE GELLEE (LORRAIN) - - Ulysses returning Chryseis to her father (Marine, setting sun) - INGRES - - Madame Riviere - E. MURILLO - - The Young Beggar - GREUZE - - The Broken Pitcher - PIETER DE HOOCH - - Card players in an opulent interior - POUSSIN - - Et in Arcadia ego - QUENTIN MATSYS - - The moneylender and his wife - ANDREA SOLARIO - - Madonna with the Green Cushion - TITIEN - - Woman with a Mirror - DAVID TENIERS (the Younger) - - The Works of Mercy - LEONARDO DA VINCI - - Mona Lisa (La Gioconda) - Armand Dayot . (shrink)