Art plays a significant role in Iris Murdoch’s moral philosophy, a major part of which may be interpreted as a proposal for the revision of religious belief. In this paper, I identify within Murdoch’s philosophical writings five distinct but related ways in which great art can assist moral/religious belief and practice: art can reveal to us “the world as we were never able so clearly to see it before”; this revelatory capacity provides us with evidence for the existence of the (...) Good, a metaphor for a transcendent reality of which God was also a symbol; art is a “hall of reflection” in which “everything under the sun can be examined and considered”; art provides us with an analogue for the way in which we should try to perceive our world; and art enables us to transcend our selfish concerns. I consider three possible objections: that Murdoch’s theory is not applicable to all forms of art; that the meaning of works of art is often ambiguous; and that there is disagreement about what constitutes a great work of art. I argue that none of these objections are decisive, and that all forms of art have at least the potential to furnish us with important tools for developing the insight required to live a moral/religious life. (shrink)

To start with, we should say that the book is a thesis for obtaining a PhD in philosophy from Mohamed Al-Khamis University in Rabat, Morocco, Arab Cultural Center published in its first edition in 2015 with a number of 368 pages. The book deserves to be read, beginning with the title “The Image of Ibn Rushd in Contemporary Moroccan Thought”. It is an attractive title for two main reasons: Ibn Rushd is one of the most prominent symbols of intellectual (...) rationality in philosophical culture at the human and local levels.The other reason is that we, as a diverse group, need to rationalize Ibn Rushd's rationality because it represents the solutions to our troubled, lived reality. The book is divided into four parts and twelve chapters with entries for most of the chapters. It is a study in which the author presented the opinions of Moroccan researchers studies about Ibn Rushd. In my estimation that the researcher succeeded in his study and the book deserves reading . (shrink)

This article explores the metaphor of Science as provider of sharp images of our environment, using the epistemological framework of Objective Cognitive Constructivism. These sharp images are conveyed by precise scientific hypotheses that, in turn, are encoded by mathematical equations. Furthermore, this article describes how such knowledge is pro-duced by a cyclic and recursive development, perfection and reinforcement process, leading to the emergence of eigen-solutions characterized by the four essential properties of precision, stability, separability and composability. Finally, this article discusses (...) the role played by ontology and metaphysics in the scientific production process, and in which sense the resulting knowledge can be considered objective. (shrink)

Originally published in 1996, this book presents and analyses children’s reasonings about fundamental metaphysical problems. The first part describes dialogues with children that were constructed on the basis of Descartes’ _Mediations on First Philosophy_ and which look at children’s ideas about the relationships between true and false knowledge, mental images and physical objects, mind and body, personal existence and the external world, dreams and reality, and the existence of the Supreme Being, among others. The second part of the book (...) draws on concepts that children of various ages have about psychological and metapsychological aspects of human reality such as: cognitive and moral development; personal freedom and responsibility; the relationships between conscious and unconscious; living and non-living; and about the fundamental drives of an individual for development and expansion of his or her needs and passions, for eternal life, and for the dreamlike world of fulfilled wishes. The book presents a systematic empirical and theoretical study of the problems, some of which were touched on in Piaget’s early writing but which he later abandoned and which were only sporadically illuminated by other authors, whereas others were completely new to research in developmental psychology at the time. It will still be a helpful guide for developmental psychologists, teachers, educationalists, social workers, lawyers, and other professionals interested in the knowledge that 4- to 14-year-old children have about the most fundamental aspects of reality and human beings. (shrink)

Fred Polak’s futurology takes up where F. W. Schelling’s claims about the ‘modern mythology’ leaves off. Linking these, I argue Art and humanity’s joint meaning crisis originates in ‘symbolic idealism’, de-futurising both and crippling humanity’s attempts to develop a proper internal ‘narrative order of goods’ needed for our survival. Polak’s tracing of how various forms of Expressionism emerged from Impressionism in later modernism, transforming our images of reality and the future, vindicates Schelling’s earlier claims that our symbolic mode of (...) ‘worlding’ creates a materially positivistic idea of progress. And our modern repurposing of art has produced what Polak calls a disorienting ‘false and deluded realism’ partly responsible for the counter-utopian, post-humanist tendencies prevalent today in both the East and West. (shrink)

Man has built tools to extend his visual experience in order to explore reality beyond his sensory capacity, for example microscopes, telescopes, high shutter speed and infrared cameras. However he has yet to build a tool to fully explore visual realms beyond his ordinary cognitive faculties. With the development of computing, comes the possibility of building a tool to explore the virtual forms/spaces of images that are ordinarily inaccessible to the mind. This article identifies how cognition is ordinarily limited (...) and posits a way of going beyond those limits, by defining a computational model of how those virtual forms/spaces might be created. This definition is based on brief but repeated empirical experiences of ‘higher order’ manifestations. (shrink)

This essay aims to appreciate the evolution of the problems regarding the ontological understanding of the photographic image and its derivative, the film, in the face of the sophistication of the apparatus of its production. The creative freedom in making images through optical machines is inversely proportional to their credibility as documents. Since its appearance in the human landscape, as a cultural object, the technology of recording images with lights has brought with it a complex of aporias about what (...) would the nature of the image produced by cameras be: a document or an artistic object, intentionally produced and with created meaning? Consequently: are they denotative or, necessarily, connotative? The development of automatic image capture in the 1980s represented the first update of the question. To what extent, and for how long, will it be possible to trust photography and film as documents through which man aims to access reality? The question now seems to be settled, definitively, in the face of the invention of artificial photography made by algorithms. (shrink)

In this paper, Lévinas’s criticisms and reformulations of Sartre’s phenomenology of imagination, in the early text “Reality and its Shadow,” are explored in detail. Levinas's own views on imagination and art are shown to be intimately linked to his critique of Sartrean temporality, insofar as they rely on a renewed phenomenological examination of sensation. As a result, understanding Lévinas’s discussion of the image provides benefits for grasping his notion of the instant and its importance for some of his (...) own positions vis-à-vis temporality, e.g. on the future and death. The manner in which Lévinas takes issue with Sartre through a phenomenology of the image and and its composition in sensation is first investigated by looking at Lévinas’s novel choice to situate his descriptions of the image with respect to the function and power of art. Nevertheless, despite this crucial decision on Lévinas’s part, departing from earlier phenomenological accounts, there are clear parallels can be drawn between Lévinas’s and Sartre’s descriptions of the image. The similarites and differences between their treatments of the image and the role played therein by the materiality of sensation are then elucidated in terms of the ‘amphiboly’ of the image, distinguishing the image in both its representational and anti-representational characteristics. From there, we proceed to examine the amphiboly of the image according to its temporality attributes, seeing how for Lévinas and Sartre the temporality of the image, as that of an instant, relates to the temporality of consciousness in general. (shrink)

Gilles Deleuze demonstrated the key role of flashback in dealing with the relationship between actual image and recollection-image when interpreting the temporality of images. He established two criteria for judging whether a flashback implies a recollection-image by stating that: (1) it serves as some kind of prompt in the narrative to make the viewer perceive that the scene has entered a flashback; (2) it relies on fate or forking time. But Deleuze also mentioned that, if the context (...) or condition disappears, the recollection-image represented by the flashback will lose its support, at which point, the pure recollection will also disappear. In this case, the actual image no longer forms a connection with the sensor-motor, but is suspended, which produces a fantasmatic effect. Bi Gan extends this suspension in his film “Long Day’s Journey into Night” by removing the character being referred to in the flashback, stripping it from figure and confining it in the voice-over. The film features an extreme use of several effects in the sensory-motor situations and the flashbacks, as described in Deleuze’s “Cinema 2: Time-Image,” namely recollection, dream, and falsification. Thus, the boundary between flashback and reality is completely broken. In addition, Bi Gan uses doppelgangers in the second part of the film to reconstruct the ambiguity of actual images and recollection-images in the first part, turning them into pure fantasies. This essay will analyze issues relating to the images and characters in “Long Day’s Journey into Night” and show how this film constitutes a typical case of recollection-images transformed into fantasies through the power of falsification. (shrink)

This paper presents the design, development, and potential impact of Echoes of Union Depot, a virtual reality (VR) game aimed at promoting historic preservation and raising public awareness about El Paso's Union Depot, a building listed on the National Register of Historic Places Inventory. The game leverages the immersive capabilities of VR technology and 360° images to engage players in exploring the site's rich history and architectural evolution. Players assume the role of a time-traveling detective, guiding lost spirits to (...) resolve their past and move on. The paper outlines the development process, highlighting the use of 360° panoramic images and 3D Vista Virtual Tour Pro software to create an accessible and user-friendly experience that fosters historic preservation awareness and cultural appreciation. The study also discusses limitations and areas for future research, including expanding the scope to include other heritage sites, working with historians and cultural consultants for accurate representations, and evaluating the game's effectiveness in promoting awareness and fostering a sense of community pride. (shrink)

Considering the propositions of the virtual universe with its short history, there are digital twins and various economic investments. While the Metaverse points out a novel universe, it is able to promise much more than producing a copy of the self and imitation of conventional economic interactions. To reveal these potentials, it is necessary to determine the areas that must be meticulously focused on. Although Metaverse has permeated daily life dialogues, studies in the academic field are limited. Likewise, research about (...) its architecture and space needs to be developed in this area. No matter how far the new universe propositions go, they still stick with the quantitative values of the physical world. This issue obstructs the creation of its own reality. However, the universe's own digitalized digitalised structure does not require that the imagination of the spaces stuck with a quantitative basis. To avoid quantitative and reductive attitudes, focusing on the atmosphere of this universe may be a solution. The study aims to collide the possibilities of the Metaverse and the architectural atmosphere discussions to make an alternative reading of the Metaverse. Developing theories about the atmosphere of spaces and conducting atmospheric studies about Metaverse allow us to develop meta-experiences of the Metaverse. Focusing on the architectural atmosphere, immediate appreciation, ecstatic being and hallucinatory image will deepen the definition of Metaverse and provide a multi-layered experience. The image of the atmosphere and ecstatic being is associated with a ‘hallucinatory image'. The hallucinatory image has a structure that does not narrow down its references to the physical world. With this aspect, it may provide forms of alternative perceptions specific to the Metaverse. The hallucinatory image, parallel with the sensation of an ecstatic being, stimulates us to sense the atmosphere produced by the Metaverse. (shrink)

The ontology of marketing, particularly the question of what products and brands are, is still largely unexplored. The ontological status of brands hinges on their relationship with products. Idealists about brands see perceptual or cognitive acts of consumers grouped under the heading ‘brand awareness’ or ‘brand image’ as constitutive for the existence of brands so that, in their view, tools of the marketing mix can influence relevant mental dispositions and attitudes. Brand realists, on the other hand, reject the view (...) of brands as mere marks or names and interpret them as emergent products with properties that afford branding in the sense of Gibson’s ecological psychology. Brand strength is a function of the degree to which brands occupy defensible niches in product space. Branding as a process involves changing external or internal boundaries of products. Several arguments are proposed in favor of brand realism. The fragments of an ontology of marketing are developed in a broadly Aristotelian framework. Brand realism has significant implications for a new understanding of issues ranging from the effects of advertising to financial brand valuation, the nature of trademarks, and marketing strategy in general. It permits one to treat brand equity as a real phenomenon not dependent on associations, attitudinal states such as brand loyalty, or spurious constructs such as brand character or personality. (shrink)

Ontology is one strategy for promoting interoperability of heterogeneous data through consistent tagging. An ontology is a controlled structured vocabulary consisting of general terms (such as “cell” or “image” or “tissue” or “microscope”) that form the basis for such tagging. These terms are designed to represent the types of entities in the domain of reality that the ontology has been devised to capture; the terms are provided with logical defi nitions thereby also supporting reasoning over the tagged data. (...) Aim: This paper provides a survey of the biomedical imaging ontologies that have been developed thus far. It outlines the challenges, particularly faced by ontologies in the fields of histopathological imaging and image analysis, and suggests a strategy for addressing these challenges in the example domain of quantitative histopathology imaging. The ultimate goal is to support the multiscale understanding of disease that comes from using interoperable ontologies to integrate imaging data with clinical and genomics data. (shrink)

Claims such as ‘there are no tables and chairs’ have become increasingly common in the philosophical context, and eliminativism is now a fairly well-established position in contemporary debates in analytic metaphysics. This outbreak of eliminativism has prompted a number of responses aimed at saving the manifest image of reality. Prominent amongst the attempts to save the manifest image is a view, powerfully articulated by Frank Jackson in From Metaphysics to Ethics , according to which the manifest properties (...) of objects, properties such as solidity or fragility, can be spared from the eliminativist’s guillotine if it can be shown that they are entailed (through the relation of supervenience) by scientific properties. Jackson’s strategy for saving the manifest image rests on a modest conception of the role of conceptual analysis in metaphysics. On this view, the role of conceptual analysis is modest because it is not the task of philosophy to establish a priori what there is, but rather to determine which features of the manifest image can be located within the scientific image: the manifest properties which cannot be so located are shown to be rogue concepts that have no place in serious metaphysics. This chapter argues against the attempt to save the manifest image by invoking the relation of entailment (whether that implied by the notion of supervenience or by the more traditional notion of analytic entailment) on the grounds that the manifest image is sui generis. The defence of the manifest image that I propose as an alternative here rests on the idealist assumption that knowledge makes a difference to what is known, and that since the manifest and the scientific image are the correlative of two different ways of knowing they do not compete with one another. I call the idealist view that knowledge makes a difference to what is known the Reciprocity Thesis. Rather than seeking to determine what kind of manifest image one is entitled to have in order to comply with the scientific image, the Reciprocity Thesis limits the claims of science to its own explanandum and therefore sees no need to legitimise the manifest image by invoking the relation of entailment. The need to legitimise the manifest image in the light of the scientific image arises because the relation between the scientific and the manifest image has not been properly conceptualised. Once the scientific and the manifest image are understood as the correlative of different ways of knowing, the problem which the location strategy seeks to solve is shown to rest on a misconception of the relationship holding between different kinds of knowledge. (shrink)

The human body has always been one of the most important subjects for European artists. But the way it is displayed in art has varied in different epochs. In ancient Greece, a canon was constituted that proclaimed an ideal vision of the body, derived from the rules governing the universe. This idealization of the human body, neglected in the Middle Ages, was re‑established in Renaissance and Classicist art. However, Renaissance artists also created another image of the human body by (...) borrowing from patterns mainly found in nature, and started to depict their models not in an ideal but rather in a more natural shape. The new non‑ideal forms of art that appeared in Mannerist art made the artists develop a much wider artistic language, which brought into being a variety of individually interpreted artistic representations of the human body. It preceded similar phenomena which became widespread in the twentieth century. Thus, the human body was not always displayed in art as strong, healthy and beautiful. On the contrary, the martyred bodies of Christ and the saints, as well as the depictions of aged, tired or ill people, also carried enormous artistic expression. A distinct problem has occurred with the ways in which corpses have been presented in art. The review concludes with a reference to the contemporary trend called Body‑Art that involves various artistic activities, such as happenings and performances, where the human body is itself used as a significant work of art. (shrink)

What role do images play in philosophical persuasion? With the advent of bio-art in the 1990s, a new vista opened up for this age-old puzzle: the possibility of creating images through bioengineering of living matter. Here, I test the critical intentions of bio-artists by setting up a comparison between, on the one hand, bio-art, and on the other, bioethics, a philosophical discipline, which developed at around the same time as this new artform. I argue there is an aspect of ethics--'the (...) difficulty of reality' in Cora Diamond's coinage--which analytic bioethics obscures, and which art can help us come to terms with. I develop my argument by comparing the work of artists Eduardo Kac, Stelarc and Maja Smrekar, with utilitarian bioethics by philosophers like Julian Savulescu. Philosophical concepts of the living presence, the viral image and the pensive image are revisited through this inquiry. (shrink)

This paper focuses on Paul of Venice’s realist theory of direct knowledge. In the second half of the 13th century human knowledge was standardly viewed as a process of abstraction enabling the human intellect to grasp the essences of corporeal things, regardless of the matter in which they are embodied. This process was achieved thanks to the mediation of mental entities (species intelligibiles) representing the dematerialised objects in the intellect. By the late 13th and early 14th centuries, however, some authors (...) began to regard this account as unsatisfactory. These authors held that assuming the existence of mediating species (considered themselves as objects of knowledge) amounts to thinking that between ourselves and the world there is a barrier preventing us from acquiring knowledge of reality in itself. Paul of Venice is aware of the sceptical accusations made against the theory of species in the 13th and 14th centuries. Nevertheless, he is a firm advocate of the existence of species. He claims that knowledge, despite coming about through species, is not indirect. Quite the contrary: we have immediate access to reality, and the individual objects that constitute it, precisely because our senses (which are purely passive) receive impressions direct from outside, thanks to species. He points out that species are not object of knowledge. They are not known at all during the cognitive process, as they are a mere means (a mechanical means, so to say), not an image nor a representation of anything, and therefore they are no obstacle between ourselves and the world. Thus, we are able to know reality exactly as it is in itself and, under ordinary conditions, our perceptions are practically infallible and cannot produce false knowledge. (shrink)

As soon as you believe an imagination to be nonfictional, this imagination becomes your ontological theory of the reality. Your ontological theory (of the reality) can describe a system as the reality. However, actually this system is only a theory/conceptual-space/imagination/visual-imagery of yours, not the actual reality (i.e., the thing-in-itself). An ontological theory (of the reality) actually only describes your (subjective/mental) imagination/visual-imagery/conceptual-space. An ontological theory of the reality, is being described as a situation model (SM). (...) There is no way to prove/disprove that there is only one reality, or there are two realities (i.e., “subjective reality” and “objective reality”). So, every ontology talk/theory/imagination about the two realities is only a talk/theory/imagination – we will never know whether it is true or not. The conventionally-called “physical/objective reality/world” around my conventionally-called “physical/objective body” is actually a geometric mathematical model (being generated/mathematically-modeled by my brain) – it's actually a subset/component/part/element of my brain’s mind/consciousness/manifest-image. Our cosmos is an autonomous objective parallel computing automaton (aka state machine) which evolves by itself automatically/unintentionally – wave-particle duality and Heisenberg’s uncertainty principle can be explained under this SM of my brain. Each elementary particle (as a building block of our cosmos) is an autonomous mathematical entity itself (i.e., a thing in itself). Our cosmos has the same nature as a Game of Life system – both are autonomous objective parallel-computing automata. Cosmos (as a state machine) is indistinguishable from a digital simulation – my consciousness (as something nonphysical) is not cosmos (as a state machine). If we are happy to accept randomness/stochasticity, then it is obviously possible that all other worlds in the many-worlds interpretation (MWI) actually do not exist (objectively). As one metaphysical option, we can treat all other worlds as subjective only (even if they are actually objective). Under the context of this metaphysical option, we are only living in one world (i.e., the world we are currently living in; this world) – we are not living in many worlds at the same time parallelly. Under the context of this metaphysical option, there is only one possible future. The relationship among any number of elementary particles, is governed/described by Schrodinger equation. If (in theory) Schrodinger equation can’t be used to reliably forecast whether I will go to McDonald for dinner in this world (based on the current state of all elementary particles of the cosmos), then what can Schrodinger equation do? The conventionally-called “space” does not exist objectively. “Time” and “matter” are not physical. Consciousness is the subjective-form (aka quale) of the mathematical models (of the objective cosmos) which are intracorporeally/subjectively used by the control logic of a Turing machine’s program fatedly. A Turing machine’s mind/consciousness/manifest-image or deliberate decisions/choices should not be able to actually/objectively change/control/drive the (autonomous or fated) worldline of any elementary particle within this world (i.e., the world we are currently living in, under the context of MWI). Besides the Schrodinger equation (or another mathematical equation/function which is yet to be discovered) which is a valid/correct/factual causality of our cosmos/state-machine, every other causality (of our cosmos/state-machine) is either invalid/incorrect/counterfactual or can be proved by deductive inference based on the Schrodinger equation (or the aforementioned yet-to-be-discovered mathematical equation/function) only. Closed causality entails no causality. Consciousness plays no causal role (“epiphenomenalism”), or in other words, any cognitive/behavioural activity can in principle be carried out without consciousness (“conscious inessentialism”). If the “loop quantum gravity” theory is correct, then time/space does not actually/objectively exist in the objective-evolution of the objective cosmos, or in other words, we should not use the subjective/mental concept of “time”, “state” or “space” to describe/imagine the objective-evolution of our cosmos. (shrink)

Today's realities require medical institutions to take more careful account of intangible factors that make up an irreplaceable component of cultural characteristics. Changes in the socio-economic conditions of economic activity have led to increased attention of the management of medical institutions to the need to form a corporate style that will provide additional competitive advantages. The purpose of the study is to identify the functions and elements of the corporate style of a medical institution and its subdivisions, to find out (...) its impact on the collective consciousness and behavior of consumers of medical services and to establish requirements for its development. The methodological basis of the study is modern research on the formation of corporate style and its impact on the reputation and successful development of organizations. The main hypothesis of the study is the assumption that corporate style influences the level of recognition and authority of a medical institution. Summary of the main research material. It is proved that an authentic, working corporate style for a modern medical institution is a necessary element of its organizational culture. It is determined that the corporate style contributes to creating a positive image of a medical institution in the eyes of consumers; allows distinguishing a medical institution from other medical institutions with a similar range of services; strengthens the organizational spirit of medical staff; increases the effectiveness of advertising; and creates a favorable image of a medical institution. The originality and practical significance of the study lies in the fact that a comparative analysis of the elements of corporate style of city clinical hospitals in Dnipro, which are clearly implemented on the official pages on the Internet, was carried out. Conclusions and prospects for further research. The conducted research has made it possible to state that the considered medical institutions of the city of Dnipro do not pay the necessary attention to the formation of their own corporate style. Sporadic initiatives and events create the appearance of the existence of a corporate style of a medical institution, but do not ensure the existence of such a corporate style that would work to increase the recognition and authority of a medical institution. (shrink)

In recent years, a rising interest in scientific imaging has become apparent, in art production and in thematic exhibitions, as well as in popular media and advertising. Images captured by, and supposedly read through, machines open up a new era – not only for an as-yet-undefined aesthetic journey, but also to reveal insight into a normally invisible layer of reality. A wide range of techniques is already well established – not only in science, but also in an artistic context. (...) Based on an overview of different media and their applications, the term phasmagraphy is introduced to be applied to the expanded boundaries of the visible photographic spectrum to the adjacent wavelengths beyond full-spectrum photography. (shrink)

Can We Ever See a Chair in its Totality? Synopsis of Chapter Submitted -/- Ayad Gharbawi 2023 Submission - Philosophy – Can we ever see a chair in its totality? Key Words: Metaphysics; Vision; Mind; Unity of Vision; Limitations of Man’s Perception. Word Count: 3,036 Words. Dear Sir/Madam; I hope this email finds you well. -/- My book represents a fundamental break from the conventional methodologies of psychology as it aims to be far more precise in describing the attributes of (...) the various ‘bits’ of the mind, such as – memories, vision, scent, sounds, thoughts, dreams and so on, which, in their turn, as stated, are equivalent to some sub-atomic particle quantum laws. Ultimately the book defines with strict specificity what the ‘I’, the ‘Self’ is in light of the multitudes of attributes of the parts that ultimately compose our mind, or our personality, both directly and indirectly [in other words our public and private ‘faces.’] As per this specific manuscript, I am sending you one chapter from my book – Can we ever see the ‘total’ vision of an object, say, a chair in its totality? -/- In this particular article, we note evidence that no observer can ever see the totality of any observed object because of the infinite number of variables that render it impossible for any human being to see the totality of a chair or of any perceived entity. -/- These ‘variables’ are listed in our manuscript – such as being stationary or not; optical accuracy; the angle from which the observer views the chair; the distance from which the observer views the chair; the fact that no human can see the chair from every position and angle and if the observer is not stationary and/or the chair is not stationary, those variables will also change the image of the perceived entity. -/- These variables are infinite in number which leads one to the conclusion that no perceived entity can ever be seen in its entirety given the innumerable and infinite factors that strictly govern and enforce the limitations of the vision of the observing agent in question. -/- That is of course but one mere fraction of the limitations that the observing agent has to accept. -/- Hence there is no totality of vision as per any object. No entity can ever be seen or ‘known’ in its entirety. -/- The ‘unity’ and reality of any vision of any phenomena and/or object is therefore impossible and that is one more cause why defining ‘reality’ is such a difficult if not an impossible task. -/- Thus, when we ask, ‘What does a chair look like?’ the answer is meaningless. -/- And what are the implications? -/- 1. Reality cannot be defined in any wholesome, unified manner. 2. Even though on a day-to-day basis we believe we know our minds and we see our environments, in truth, humans are severely restricted and limited to what they can know and see in their minds and their surroundings. 3. All we know and see as per our minds and our surroundings are changing discrete quantized snippets and slivers of so-called ‘reality’ – and I put the latter in those terms because reality is not and cannot be a unified, whole entity in any way and in any circumstance. -/- . (shrink)

The interpretation of many texts in the everyday world is concerned with their truth value in relation to the reality around us. The recent publication experiments with computer-generated texts have shown that the distinction between true and false, or reality and fiction, is not always clear from the text itself. Essentially, in today’s media space, one may encounter texts, videos or images that deceive the reader by displaying nonsensical content or nonexistent events, while nevertheless appearing as genuine human-produced (...) messages. This article outlines certain problems with artificial intelligence (AI)-generated content, and frames the issue as a problem of recognising its proper referential reality. Examples include generative texts, deepfakes and their functioning in contemporary culture. The article makes use of the concepts of mimicry and nonsense to reveal the elements and counterparts in the communicative processes involving generated media. (shrink)

The article will expose the problem of the nature of reality stablished in the first sections of Wittgenstein"s “Tractatus Logico-Philosophicus”, especially the aphorisms 1 to 2.063 seeking to show points of contact between the Aristotelian-Thomistic and Suarezian thought. Initially, (I) a distinction is made between metaphysics and ontology in order to understand why Wittgenstein, notorious for his anti-metaphysical thought, actually ends up producing a theory of reality. Subsequently, (II) the relationship between reality and language will be drawn (...) from the characteristic isomorphism of the Tractatus in which a structural similarity will appear with the Aristotelian-Thomistic thought. This relationship will be the basis for (III) the construction of an ontological image of reality as the condition of possibility for a meaningful language. With this outlook, the (IV) hypothesis of the influence of Francisco Suárez"s thought as the content behind this Wittgensteinian description of reality will be advanced. (shrink)

Since antiquity, scholars have observed a structural tension within Plato’s Phaedrus. The dialogue demands order in every linguistic composition, yet it presents itself as a disordered composition. Accordingly, one of the key problems of the Phaedrus is determining which—if any—aspect of the dialogue can supply a unifying thread for the dialogue’s major themes (love, rhetoric, writing, myth, philosophy, etc.). My dissertation argues that “soul-leading” (psuchagōgia)—a rare and ambiguous term used to define the innate power of words—resolves the dialogue’s structural tension. (...) I clarify the conceptual and dramatic features of soul-leading by focusing on the dialogue’s uniquely prevalent use of the semantic network of “leading” and “following.” By continuing to foreground the language and drama of leading and following, I offer a new interpretation of the dialogue as a whole: the Phaedrus is Plato’s articulation of how the soul can be led into communion with reality. Chapter 1 discusses scholarly disputes about the unity of the Phaedrus and proposes that soul-leading adequately satisfies the criteria put forward for what would count as a unifying element. I argue that soul-leading unifies the dialogue both thematically and non-thematically; moreover, soul-leading is a theme capacious enough to account for the other principal contenders for unity put forward. Chapter 2 develops the ambiguous character of soul-leading by examining how the dialogue showcases dangerous forms thereof. Love and language are dangerous when they lead the soul toward goods which can never truly fulfill it. In order to clarify how love and language can mislead the soul, Socrates develops a set of accounts of how the soul is led, both internally and externally, in the three speeches on love. If the soul is to be led into communion with reality (the proper end of soul-leading), it must be led internally by the right part of the soul and externally by the right object of desire. Chapter 3 argues that all souls can, in principle, be harmonized and directed in the way that Chapter 2 requires. I show that Plato’s view of philosophy is neither elitist (i.e., some are intrinsically incapable of philosophy) nor naively essentialist. All can come into communion with reality because all are by nature equipped to do so. While Plato recognizes that there are forces which tend to prohibit one from exercising one’s capability of being rightly led, none of them are intrinsic to human nature. Chapter 4 argues that successful soul-leading require neither the leader nor the follower to be already well-disposed to what’s ultimate in order for the pair to come to a communion with what’s ultimate. Plato’s depiction of soul-leading love shows that love can itself promote the formation needed for both leader and follower to come into contact with reality. Love can do so because it is always already bound up reality in its responsiveness to beauty. Beauty itself calls the lover to itself by shining through the beautiful beloved, who acts as a reminder of transcendent Beauty. The lover mediates this same experience for the beloved. Each comes to desire the other as well as Beauty itself. Chapter 5 argues that the drama of the lovers’ formation mythically depicted in the Palinode (Chapter 4) is written into the drama of the dialogue as a whole. In the relationship between Socrates and Phaedrus, we see an enactment of love’s formative role. Likewise, in the relationship between Phaedrus and Lysias, we see an enactment of the dangerous soul-leading discussed in Chapter 2. My focus on leading and following also allows me to show the thematic significance of the drama’s setting. Chapter 6 articulates the metaphysical conditions under which one can be led into communion with reality. Transcendent Beauty invites us into communion with itself and makes possible our ascent by providing us with divine guides and images which can transport us from our ordinary experiences to the true beings. Beauty accomplishes its work—leading us in a “divine dance” where we follow the gods up to Beauty and back down to each other—through images. When we handle images of reality rightly, they lead our souls into communion with reality. Further, when we have come into communion, we’ll be inspired to be co-workers of Beauty’s soul-leading work. When we articulate reality in language, we create new images that can serve to lead others toward reality. (shrink)

I explore the view that the imago Dei is essential to us as humans but accidental to us as persons. To image God is to resemble God, and resemblance comes in degrees. This has the straightforward—and perhaps disturbing—implication that we can be more or less human, and possibly cease to be human entirely. Hence, I call it the spectrum view. I argue that the spectrum view is complementary to the Biblical data, helps explain the empirical reality of horrendous (...) evil, and offers an elegant rapprochement between the traditional view of hell and its rivals. (shrink)

In order to distribute our thoughts and feelings, we must make intelligible and distributable copies of them. From approximately 1375 to 1450, certain Europeans started fully mechanized replication of texts and images, based on predecessor “smaller” technologies. What they started became the most powerful means for the distribution, storage, and retrieval of knowledge in history, up until the invention of digital means. We have scant information about the initiation of print technologies in the period up to Gutenberg, and the picture (...) of Gutenberg that we have has become a great deal more complicated than hitherto. There has not been, however, an approach to the “pre-printing” period in terms of the history of idea or intellectual history. After a brief survey of established approaches, this essay argues that distribution by impression, or print, is bound up with ancient metaphors for understanding communication by the making of multiples. I suggest that there is a rich field of study for printing history in the sophisticated concepts of reality that medieval and late Scholastic philosophy developed. These concepts helped to express and develop a desire or need for communication that led to the technology of replicating texts and images for wide and continued distribution. (shrink)

"All-and-Nought" is the 2nd Edition of a series of books that study the nature of Reality and Being. The first edition of the book, "The Metaphysics of All-and-None", was published by Edwin Mellen Press in January 2022; since then the book has been under severe investigations and reviews by many scholars and pundits worldwide. The 2nd edition of the book contains the original text plus a foreword by Professor Richard Howells from King’s College London and some reports by Physicists, (...) Biologists, and others. Journal of Mind, one the most important journals in Philosophy, paid attention to the book and in its critical review article October 2022, encourages all philosophers and pundits to study the book. -/- The book's core concept is a Scientific/Mathematical, a-priori/synthetic theory called All'n'None Theory. It studies the Symmetry and Asymmetry in Reality and points to a state that indicates the deep Symmetry between "All Beings" and "Nothingness". It deeply studies the relationships between being and non-being from the perspective of Symmetry and symmetry failure and offers a measurement tool and a new method of studding phenomena. -/- It seems All`n`None Theory is a scientific breakthrough and discovery. The book methodologically applies Physics, Conceptual philosophy, Mathematics, and jurisprudence analysis both inductively and deductively to prove its theory. It is the first and the only Theory for Explaining the nature of Existence (being) and provides a technique to measure the amount of existence in each being. -/- Through understanding Existence, the book explains Creation, Cosmos, Consciousness, Mind, Spirit, and Soul scientifically. It is deep enough to initially encompass and then merge all modern Sciences (Physics, Philosophy, Complexity, System Theory, Information Theory, Psychology, Biology, Humanities, Economy, and Management) with Buddhism, Hinduism, Judaism, Christianity, and Islam (Theology) and makes the image of Reality clearer for readers. -/- The book proves chaos management in the depth of creation and shows how people can use the only law of creation for their own success and salvation. Therefore the book is an inspirational one too. Readers by reading the book and understanding it not only gain scientific knowledge but also find profound wisdom that heals them. They feel they are enlightened and motivated to construct their meaning of life. Readers can recognize their self/ego structure of being and enjoy the passion to improve. -/- The book tries to explain the mechanism of Thinking with respect to Symmetry and the failure of Symmetry as the foundation of Categorization, Mentalization, and Cognition. By understanding the mechanism of cognition it can study Epistemology and explain the Believing Mechanism and the nature of Beliefs as a kind of being. The theory claims no matter the beliefs originated from Science or Religion the mechanisms that govern both of them are the same. Based on the theory, “Knower or Observer”, “Known or Observed”, and “knowing or observation” are rooted in Symmetry and its failure. The tone, language, and structure of the book are unique to itself. It is not an entertainment or commercial book. The book is written for readers who plan to spend enough time to think about its content. (shrink)

This paper argues that the principle of continuity that underlies Benjamin’s understanding of what makes the reality of a thing thinkable, which in the Kantian context implies a process of “filling time” with an anticipatory structure oriented to the subject, is of a different order than that of infinitesimal calculus—and that a “discontinuity” constitutive of the continuity of experience and (merely) counterposed to the image of actuality as an infinite gradation of ultimately thetic acts cannot be the principle (...) on which Benjamin bases the structure of becoming. Tracking the transformation of the process of “filling time” from its logical to its historical iteration, or from what Cohen called the “fundamental acts of time” in Logik der reinen Erkenntnis to Benjamin’s image of a language of language (qua language touching itself), the paper will suggest that for Benjamin, moving from 0 to 1 is anything but paradoxical, and instead relies on the possibility for a mathematical function to capture the nature of historical occurrence beyond paradoxes of language or phenomenality. (shrink)

Human beings have the ability to ‘augment’ reality by superimposing mental imagery on the visually perceived scene. For example, when deciding how to arrange furniture in a new home, one might project the image of an armchair into an empty corner or the image of a painting onto a wall. The experience of noticing a constellation in the sky at night is also perceptual-imaginative amalgam: it involves both seeing the stars in the constellation and imagining the lines (...) that connect them at the same time. I here refer to such hybrid experiences – involving both a bottom-up, externally generated component and a top-down, internally generated component – as make-perceive (Briscoe 2008, 2011). My discussion in this paper has two parts. In the first part, I show that make-perceive enables human beings to solve certain problems and pursue certain projects more effectively than bottom-up perceiving or top-down visualization alone. To this end, the skillful use of projected mental imagery is surveyed in a variety of contexts, including action planning, the interpretation of static mechanical diagrams, and non-instrumental navigation. In the second part, I address the question of whether make-perceive may help to account for the “phenomenal presence” of occluded or otherwise hidden features of perceived objects. I argue that phenomenal presence is not well explained by the hypothesis that hidden features are represented using projected mental images. In defending this position, I point to important phenomenological and functional differences between the way hidden object features are represented respectively in mental imagery and amodal completion. (shrink)

Difference and Repetition: Deleuze’s magnum opus, “Difference and Repetition” (1968), explores the interplay between difference and repetition. He argues that difference is fundamental to reality, and repetition is not mere duplication but a creative force. Deleuze challenges conventional notions of identity and sameness, emphasizing the productive potential of difference. Gilles Deleuze’s “Difference and Repetition” is a seminal work that challenges traditional Western metaphysics and offers a fresh perspective on concepts like identity, repetition, and creativity. Let’s explore some key ideas (...) from this remarkable book: Pure Difference: Deleuze argues that difference is fundamental to reality. Unlike classical philosophy that seeks universal truths, he emphasizes divergence and decentering. Each moment contains unique differences, and these differences shape our understanding of the world. Complex Repetition: Repetition, for Deleuze, isn’t mere duplication. Instead, it involves displacement and disguising. While repetition contributes to generality and thought, it’s the differences within each repetition that account for change and novelty. Concepts and things derive meaning from these differences. Shift Away from Hegel and Marx: “Difference and Repetition” played a crucial role in shifting French thought away from Hegel and Marx toward Nietzsche and Freud. Deleuze’s exploration of difference challenged established philosophical norms and paved the way for new perspectives. The Image of Thought: Deleuze critiques the traditional “image of thought,” which often relies on fixed identities and binary oppositions. Instead, he encourages us to embrace multiplicities, complexities, and the perpetual process of becoming. Asymmetrical Synthesis of the Sensible: Deleuze introduces the concept of asymmetrical synthesis, emphasizing the interplay between perception and affect. Reality is a dynamic, ever-changing process, not a static being. Copies are never identical; they’re something new. “Difference and Repetition” invites us to rethink how we perceive reality, emphasizing creativity, multiplicity, and the constant flux of existence. Deleuze’s work continues to inspire thinkers across disciplines, bridging philosophy with art, literature, and mysticism. (shrink)

The images of human suffering from New Orleans in the aftermath of Hurricane Katrina remain seared in our nation's collective memory. More than 8 years on, the city and its African-American population still have not recovered fully. This reality highlights an important truth: the disturbances that accompany climate change will first and foremost affect minority communities, many of whom are economically disadvantaged. This paper: (1) describes how Hurricane Katrina, an example of the type of natural disaster that will become (...) more prevalent with intensifying climate change, has impacted the black community of New Orleans; (2) explores the notion that African Americans, in the midst of racial oppression, have developed a unique and powerful brand of environmental thought that has much to contribute to mainstream environmentalism; and (3) argues that the voice of the black community, which has a vested interest in climate outcomes, is critically needed in today's climate debate. (shrink)

A utopia is an ideal society that does not exist, which the author conceives better than the society in which he lives. A predilection for it is a social dream driven by a narrowing of reality and a desire for a better way of life. All forms of philosophical, social, scientific, religious and literary utopia raise questions such as: Can the way we live be improved? What are the faults of the society or the world in which we live? (...) What is the best way to lead a better life? This article aims to address the concept of a utopia in an analytical way, and discusses the most prominent images of utopias such as Plato's Republic, Al-Farabi's Utopia, More's Utopia, Bacon's The New Atlantis, Skinner's Walden Two. It shows that utopia is the mirror of human hope. People see in it themselves and love what they love and hate from it what they hate. Their love drives them to seek perfection, and their hatred drives them to seek reform. -/- المدينة الفاضلة (اليوتوبيا) هي مجتمع مثالي لا وجود له، يتصوره المؤلف على نحو أفضل من المجتمع الذي يعيش فيه. والميل إليها هو حلم اجتماعي يدفعه ضيق بالواقع ورغبة في طريقة أفضل للحياة. وتطرح كل صور اليوتوبيا الفلسفية، والاجتماعية، والعلمية، والدينية، والأدبية، أسئلة من قبيل: هل يمكن تحسين الطريقة التي نحيا بها؟ وما عيوب المجتمع أو العالم الذي نعيش فيه؟ وما الطريقة المثلى لحياة أفضل من التي نحياها؟ ويهدف هذا المقال إلى تناول مفهوم المدينة الفاضلة بطريقة تحليلية، ويناقش أبرز صور المدن الفاضلة مثل الجمهورية (أفلاطون)، والمدينة الفاضلة (الفارابي)، ويوتوبيا (توماس مور)، وأطلنطس الجديدة (فرنسيس بيكون)، ووالدين تو (سكنر). ويبين أن اليوتوبيا هي مرآة الأمل البشري. يرى فيها الناس أنفسهم فيحبون منها ما يحبون ويبغضون منها ما يبغضون. يدفعهم حبهم إلى التماس التمام، ويدفعهم بغضهم إلى التماس الاصلاح . (shrink)

Artificial intelligence (AI), blockchain, virtual and augmented reality, (semi-)autonomous ve- hicles, autoregulatory weapon systems, enhancement, reproductive technologies and human- oid robotics – these technologies (and many others) are no longer speculative visions of the future; they have already found their way into our lives or are on the verge of a breakthrough. These rapid technological developments awaken a need for orientation: what distinguishes hu- man from machine and human intelligence from artificial intelligence, how far should the body be allowed (...) to be changed and what are the dangers and opportunities presented by these technologies? Many of these questions are also addressed to theology. For example, questions about the image of humanity, the understanding of creation, the ethics of technological body interventions or the moral status of robots. What does theology have to say about these technological developments? It is the right time for theology to scientifically explore tech- nologization and AI and to formulate answers. As technology changes the various areas of human life, society and the world around us, the places and topics of theology are also undergoing transformation. Puzio, Anna: Theology Meets AI: Examining Perspectives, Tasks, and Theses on the Intersection of Technology and Religion. In: Puzio, Anna/Kunkel, Nicole/Klinge, Hendrik (Hg.): Alexa, How Do You Feel About Religion? Theological Approaches to Technology and Artificial Intelligence (Theology and AI 1). Darmstadt: wbg 2023, S. 29–41. DOI: 10.53186/1030373. (shrink)

Purpose (metatask) of the present work is to attempt to give a glance at the problem of existential and anthropo- logical risk caused by the contemporary man-made civilization from the perspective of comparison and confronta- tion of aesthetics, the substrate of which is emotional and metaphorical interpretation of individual subjective values and politics feeding by objectively rational interests of social groups. In both cases there is some semantic gap pre- sent between the represented social reality and its representation in (...) perception of works of art and in the political doctrines as well. Methodology of the research is evolutionary anthropological comparativistics. Originality of the conducted analysis comes to the following: As the antithesis to biological and social reductionism in interpretation of the phenomenon of bio-power it is proposed a co-evolutionary semantic model in accordance with which the de- scribed semantic gap is of the substantial nature related to the complex module organization of a consistent and adaptive human strategy consisting of three associated but independently functional modules (genetic, cultural and techno-rational). Evolutionary trajectory of all anthropogenesis components including civilization cultural and so- cial-political evolution is identified by the proportion between two macro variables – evolutionary effectiveness and evolutionary stability (sameness), i.e. preservation in the context of consequential transformations of some invari- ants of Homo sapiens species specificity organization. It should be noted that inasmuch as in respect to human, some modules of the evolutionary (adaptive) strategy assume self-reflection attributes, it would be more correctly to state about evolutionary correctness, i.e. correspondence to some perfection. As a result, the future of human nature de- pends not only on the rationalist principles of ethics of Homo species (the archaism of Jurgen Habermas), but also on the holistic and emotionally aesthetic image of «Self». In conclusion it should be noted that there is a causal link between the development of High Hume (NBIC) technologies and the totality of the trend in the anthropological phenomenon of bio-power that permeates all the available human existence in modern civilization. As a result, there is a transformation of a contemporary social (man-made) risk in the evolutionary civilization risk. (shrink)

The eponymous dialogue presents the sophist as a figure who defies definition, and those difficulties are attributed to the conception of the image. Ultimately, the sophist is defined as a species of image maker. The image, however, which is important throughout the Platonic corpus as a metaphor, an analogy, and a metaphysical concept as well, receives in the Sophist little clarification or definition apart from whatever may be inferred from the division of image making arts. In (...) the Sophist, the sophist escapes definition as in no other dialogue, rendering even the concluding division one that makes the distinction of the sophist from the philosopher problematic, if not impossible. The paper explores how the dialogue problematizes and rethinks the metaphysics of the image, as compared to its use in dialogues such as the Phaedo and the Republic, pointing to a refinement in understanding the relation of judgment to knowledge and appearance to reality. (shrink)

The present book is an in-depth study of Lukács’ musical aesthetics and, more specifically, of his essay on music from The Specificity of the Aesthetic (Die Eigenart des Ästhetischen, 1963). Lukács’ problematic in this essay revolves around a central issue in the history of Aesthetics: the problem of mimesis in music. Since the time of Plato and Aristotle music has been regarded as a mimesis (an imitation) of reality. However, this theory of music as mimesis presents major difficulties which (...) have long been the subject of philosophical thinking: how is it possible that an art so far removed from reality, an art that employs sounds (not images or concepts) be considered as an imitation of reality? This is the main question that concerns Lukács in this essay. The present book seeks, through the detailed examination of Lukács’ central argument, to demonstrate and clarify Lukács’ solution to this problem of musical mimesis and to highlight its significance for the contemporary debate on Aesthetics. (shrink)

This is a defence of the authenticity of Plato’s Epistula vii against the recent onslaught by Frede and Burnyeat (2015). It focusses on what Ep. vii has to say about writing and the embedded philosophical Digression and evaluates this in the context of other mainly late dialogues. In the Cratylus, Socrates ends with resignation regarding the potential of language study as a source of truth. This is also the case in Ep. vii, where the four means of knowledge (names, definitions, (...) images (diagrams) and knowledge/insight/true opinion) do not offer the essence of reality due to the weakness of language, in this case owing to a diagram with contrary properties. Consequently, name and definition are impermanent and conventional. Contra Burnyeat, definition is not impossible but useful in the acquisition of knowledge. Only after dialectical examination comes a flash of insight into reality. So, reality (truth) must, as in the Cratylus, be studied directly. Significantly for Plato (as opposed to Socrates), the epistemology is illustrated by a mathematical case. Hence it is relevant to look at mathematical procedure in middle and late dialogues. Moreover, the possible role of division is considered. Finally, the critique of writing justified by the Digression is placed in the context of the general aversion to the written word. The epistemology of the Digression is shown to be a fair and competent synopsis of the later Plato’s epistemology. Hence, there seems to be no reason thus far to doubt that Ep. vii is a genuine work of Plato. (shrink)

Nagarjuna and Quantum physics. Eastern and Western Modes of Thought. Summary. The key terms. 1. Key term: ‘Emptiness’. The Indian philosopher Nagarjuna is known in the history of Buddhism mainly by his keyword ‘sunyata’. This word is translated into English by the word ‘emptiness’. The translation and the traditional interpretations create the impression that Nagarjuna declares the objects as empty or illusionary or not real or not existing. What is the assertion and concrete statement made by this interpretation? That nothing (...) can be found, that there is nothing, that nothing exists? Was Nagarjuna denying the external world? Did he wish to refute that which evidently is? Did he want to call into question the world in which we live? Did he wish to deny the presence of things that somehow arise? My first point is the refutation of this traditional translation and interpretation. 2. Key terms: ‘Dependence’ or ‘relational view’. My second point consists in a transcription of the keyword of ‘sunyata’ by the word ‘dependence’. This is something that Nagarjuna himself has done. Now Nagarjuna’s central view can be named ‘dependence of things’. Nagarjuna is not looking for a material or immaterial object which can be declared as a fundamental reality of this world. His fundamental reality is not an object. It is a relation between objects. This is a relational view of reality. Reality is without foundation. Or: Reality has the wide open space as foundation. 3. Key terms: ‘Arm in arm’. But Nagarjuna did not stop there. He was not content to repeat this discovery of relational reality. He went on one step further indicating that what is happening between two things. He gave indications to the space between two things. He realised that not the behaviour of bodies, but the behaviour of something between them may be essential for understanding the reality. This open space is not at all empty. It is full of energy. The open space is the middle between things. Things are going arm in arm. The middle might be considered as a force that bounds men to the world and it might be seen as well as a force of liberation. It might be seen as a bondage to the infinite space. 4. Key term: Philosophy. Nagarjuna, we are told, was a Buddhist philosopher. This statement is not wrong when we take the notion ‘philosophy’ in a deep sense as a love to wisdom, not as wisdom itself. Philosophy is a way to wisdom. Where this way has an end wisdom begins and philosophy is no more necessary. A.N. Whitehead gives philosophy the commission of descriptive generalisation. We do not need necessarily a philosophical building of universal dimensions. Some steps of descriptive generalisation might be enough in order to see and understand reality. There is another criterion of Nagarjuna’s philosophy. Not his keywords ‘sunyata’ and ‘pratityasamutpada’ but his 25 philosophical examples are the heart of his philosophy. His examples are images. They do not speak to rational and conceptual understanding. They speak to our eyes. Images, metaphors, allegories or symbolic examples have a freshness which rational ideas do not possess. Buddhist dharma and philosophy is a philosophy of allegories. This kind of philosophy is not completely new and unknown to European philosophy. Since Plato’s allegory of the cave it is already a little known. The German philosopher Hans Blumenberg has underlined the importance of metaphors in European philosophy. -/-. (shrink)

The book suggests a "phenomological" philosophy of science, in the sense of Husserl and Heidegger. Reality is consideried as continuity. The scientific model is entangled into reality by many links in a single context rather than to redlect a certain separate part of reality studied by a scientific discipline as an "image of reality", A coherent, rather than correspondent, concept of truth is relevant to that kind of philosophy of science.

In the article the models which are reconstructed in the philosophy of science from the praxis of science are divided into two main types: 1) analogue and metaphor-based models and 2) representational models. I examine functions of the models of both the types, and demonstrate that the models of type 1) are used in science as instruments of acquiring new knowledge on the basis of a knowledge accepted earlier; and models of type 2) are used to create cognitive “images” of (...) reality. I demonstrate that in the philosophy of science the problem areas generated by two functions of models are entirely isolated one from another. Whereas they are non-separably linked one to another. I postulate the necessity of linking them in one unified conception of models, and then in one conception of science. Therefore such a conception of models is needed which will explain how models play two functions simultaneously, i.e. how they function in the context of discovery and how they rep-resent reality. (shrink)

The question of the imagination is rather like the question Augustine raised with regard to the nature of time. We all seem to know what it involves, yet find it difficult to define. For Descartes, the imagination was simply our faculty for producing a mental image. He distinguished it from the understanding by noting that while the notion of a thousand sided figure was comprehensible—that is, was sufficiently clear and distinct to be differentiated from a thousand and one sided (...) figure—the figure could not be clearly pictured in our mind. The representation of its sides exceeded our powers of imagination.[i] This view of the imagination as our ability to produce a mental image fails, however, to distinguish it from remembering. Let us say that I see an object and then I close my eyes, maintaining the image of the object. Is this imagining or short term memory? What about the case when I recall this image an hour later? Am I imagining or remembering it? Such examples make it clear that imagination, as distinct from memory, implies something more than the ability to produce a mental image. It involves, as Sartre pointed out, a certain attitude towards this image. Engaging in it, we deny its reality. In Sartre’s words, imagination “carries within it a double negation; first, it is the nihilation of the world (since the world is not offering the imagined object as an actual object of perception), secondly, the nihilation of the object of the image (it is posited as not actual) ...” (BN, p. 62). Imagination, then, represents the imagined as nonactual. (shrink)

Human mind has undergone a complex evolution throughout the history of our genus, Homo. The brain structures and processes that make this mental activity possible have been the result of a series of evolutionary patterns not only biological but also cultural, so it is possible to assume that consciousness did not emerge with the same characteristics in our predecessors. One of the most distinctive features that reflects the conscious image of the archaic man is the absence of a dualistic (...) interpretation of reality. This apparition stem from our analytical mind as an exaptation, commonly assigned to the activity of the left hemisphere which is attributed to play a greater role in linguistic activity. This paper introduces the idea that, along with other abilities such as linguistic predisposition, spatial perception and pattern recognition, human beings are also born with an innate tendency to interpret and represent the surrounding world in antithetical terms, that is, in antinomies. The idea of Self as an exaptation arises from the cultural development of our species closely influenced by the ripening of our cognitive structures and the evolution of human natural language. This illusory perception of Self also conditions scientific activity, giving birth to a new form of knowledge that attributes a new value judgment to man and life. (shrink)

This paper attempts to acquaint Polish readers with the Russian Orthodox philosopher Pavel Florensky’s (1882–1937) thinking on the category of space‑ness, which together with the categories of symbolism and light is one of the key‑words in his theory of aesthetics. The concept of space is, according to Florensky, a criterion for distinguishing art types, although for him it is only a model, which can be used to help form judgments about the world. It is also the basis of being for (...) the artwork itself. Painting and printmaking, among other arts types mentioned by Florensky (poetry, music, theatre, and architecture), have their own particularities in their organization of space. Painting and printmaking are, for Florensky, the truest art forms — art par excellence. The presentation of a threefold interpretation of the category of space‑ness, together with the description and justification of the divisions which are made in art based on these spatial categories by the philosopher is the leitmotiv of this paper. The aim of the paper is to present and discuss the opinions and arguments of the Orthodox thinker from his work Анализ пространственности (и времени) в художественно‑изобразительных произведениях, which has not yet been translated into Polish or English. (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

An examination of two recent documents of Catholic Social Doctrine, Caritas in Veritate and Vocation of the Business Leader, is undertaken to uncover their assessment of our current cultural and moral crisis, of which our present economic distress is but one aspect, and their proposal for cultural renewal including a return to sound economic decision making. The intellectual commitments of molders of the modern mind such as Bacon, Descartes, and Hobbes severed morality at its metaphysical roots. Destroying the anthropological underpinnings (...) of ethics catapults the contemporary world into a state of nihilism. In such a condition economic disorder is inevitable. The human person is crushed in a regime that searches for more relentlessly. The demand for metaphysical and moral reconstruction is met by Pope Benedict XVI with his insistence on receptivity to what is. Contemplation of an ultimate reality given to us takes us to the Person of Jesus Christ. The Christian faith is the context of authentic integral human development. Being made in the image of God gives every human person an inviolable dignity and makes every person subject to transcendent moral norms. A truth-filled love informs the conduct of enterprise. Goods that are truly goods and services that truly serve are produced or supplied. Promotional efforts are conducive to the pursuit of wisdom. People are given meaningful work that utilizes and develops their higher faculties and are let in on the financial success of the venture. The environment is respected as a home place ought to be. The Christian business leader can have a transformative effect on the business world through the power of grace. (shrink)

ArgumentIn 1895 when the Lumière brothers unveiled their cinematographic camera, many scientists were elated. Scientists hoped that the machine would fulfill a desire that had driven research for nearly half a century: that of capturing the world in its own image. But their elation was surprisingly short-lived, and many researchers quickly distanced themselves from the new medium. The cinematographic camera was soon split into two machines, one for recording and one for projecting, enabling it to further escape from the (...) laboratory. The philosopher Henri Bergson joined scientists, such as Etienne-Jules Marey, who found problems with the new cinematographic order. Those who had worked to make the dream come true found that their efforts had been subverted. This essay focuses on the desire to build a cinematographic camera, with the purpose of elucidating how dreams and reality mix in the development of science and technology. It is about desired machines and their often unexpected results. The interplay between what “is” (the technical), what “ought” (the ethical), and what “could” be (the fantastical) drives scientific research. (shrink)

This chapter examines the relation between citizenship and orientalism under the new conditions of indebtedness resulting from austerity. Taking its departure from a condition of precarity under debt economy, the crisis of Europe is described as the anxiety produced by a reversal of those paradigms that have sustained the image of Europe so far. This reversal coincides with a return in Europe of that which for a long time was ejected outside in order for Europe itself to be constituted (...) as a unified symbolic reality. The chapter illustrates how this new economy has exposed a certain ‘disorienting’ effect of austerity, contributing to rekindling the ambiguities of Europe and therefore reconfiguring the image of the European self against its others. It concludes that this reconfiguration forms the background against which a new relationship between citizenship and orientalism in contemporary Europe should be examined. (shrink)

As much as reality itself, its reflections and appearances have taken a significant place in philosophical discussions. While Plato's Allegory of the Cave is one of the first of these discussions, the philosophy of the virtual shows the final state of these discussions today. The virtual cave is the modern-day version of Plato's cave. Appearances in Plato's cave have their own mode of existence, and likewise, virtual objects in the virtual cave have their own mode of existence. There are (...) many philosophical similarities between the ancient cave and the virtual cave. So much so that, according to the first, the shadows in the cave are a different view of reality, while according to the second, the virtual images in the virtual cave are another view of reality. The philosophy of the ancient cave and virtual cave essentially point to the debates about what the nature of reality is. The ontological and epistemic dimensions of appearance and virtual image lead us to the discussion about the nature and whatness of reality. The most common and advanced virtual cave today is the metaverse. Metaverse consists of virtual communities that combine the reality of the physical world with the reality of the virtual world and are open to all kinds of manipulations. (shrink)

1.Summary The key terms. 1. Key term: ‘Sunyata’. Nagarjuna (Kumarajiva) is known in the history of Buddhism mainly by his keyword ‘sunyata’. This word is translated into English by the word ‘emptiness’. The translation and the traditional interpretations create the impression that Nagarjuna (Kumarajiva) declares the objects as empty or illusionary or not real or not existing. What is the assertion and concrete statement made by this interpretation? That nothing can be found, that there is nothing, that nothing exists? Was (...) Nagarjuna (Kumarajiva) denying the external world? Did he wish to refute that which evidently is? Did he want to call into question the world in which we live? Did he wish to deny the presence of things that somehow arise? My first point is the refutation of this traditional translation and interpretation. 2. Key terms: ‘Dependence’ or ‘relational view’. My second point consists in a transcription of the keyword of ‘sunyata’ by the word ‘dependence’. This is something that Nagarjuna (Kumarajiva) himself has done. Now Nagarjuna’s (Kumarajiva’s) central view can be named ‘dependence of things’. Nagarjuna (Kumarajiva) is not looking for a material or immaterial object which can be declared as a fundamental reality of this world. His fundamental reality is not an object. It is a relation between objects. This is a relational view of reality. This is the heart of Nagarjuna’s (Kumarajiva’s) ideas. In the 19th century a more or less unknown Italian philosopher, Vincenzo Goberti, spoke about relations as the mean and as bonds between things. Later, in quantum physics and in the philosophy of Alfred North Whitehead we are talking about interactions and entanglements. These ideas of relatedness or connections or entanglements in Eastern and Western modes of thought are the main idea of this essay. Not all entanglements are known. Just two examples: the nature of quantum entanglements is not known. Quantum entanglements should be faster than light. That's why Albert Einstein had some doubts. A second example: the completely unknown connections between the mind and the brain. Other examples are mysterious like the connections between birds in a flock. Some are a little known like gravitational forces. 3. Key terms: ‘Arm in arm’. But Nagarjuna (Kumarajiva) did not stop there. He was not content to repeat this discovery of relational reality. He went on one step further indicating that what is happening between two things. He gave indications to the space between two things. He realized that not the behaviour of bodies, but the behaviour of something between them may be essential for understanding the reality. This open space is not at all empty. It is full of energy. The open space is the middle between things. Things are going arm in arm. The middle might be considered as a force that bounds men to the world and it might be seen as well as a force of liberation. It might be seen as a bondage to the infinite space. 4. Key term: Philosophy. Nagarjuna (Kumarajiva), we are told, was a Buddhist philosopher. This statement is not wrong when we take the notion ‘philosophy’ in a deep sense as a love to wisdom, not as wisdom itself. Philosophy is a way to wisdom. Where this way has an end wisdom begins and philosophy is no more necessary. A.N. Whitehead gives philosophy the commission of descriptive generalization. We do not need necessarily a philosophical building of universal dimensions. Some steps of descriptive generalization might be enough in order to see and understand reality. There is another criterion of Nagarjuna’s (Kumarajiva’s) philosophy. Not his keywords ‘sunyata’ and ‘pratityasamutpada’ but his 25 philosophical examples are the heart of his philosophy. His examples are images. They do not speak to rational and conceptual understanding. They speak to our eyes. Images, metaphors, allegories or symbolic examples have a freshness which rational ideas do not possess. Buddhist dharma and philosophy is a philosophy of allegories. This kind of philosophy is not completely new and unknown to European philosophy. Since Plato’s allegory of the cave it is already a little known. (Plato 424 – 348 Befor Current Era) The German philosopher Hans Blumenberg has underlined the importance of metaphors in European philosophy. 5. Key terms: Quantum Physics. Why quantum physics? European modes of thought had no idea of the space between two this. They were bound to the ideas of substance or subject, two main metaphysical traditions of European philosophical history, two main principles. These substances and these subjects are two immaterial bodies which were considered by traditional European metaphysics as lying, as a sort of core, inside the objects or underlying the empirical reality of our world. The first European scientist who saw with his inner eye the forces between two things had been Michael Faraday (1791-1867). Faraday was an English scientist who contributed to the fields of electromagnetism. Later physicists like Albert Einstein, Niels Bohr, Erwin Schrödinger, Werner Heisenberg and others followed his view in modern physics. This is a fifth point of my work. I compare Nagarjuna (Kumarajiva) with European scientific modes of thought for a better understanding of Asia. I do not compare Nagarjuna (kumarajiva) with European philosophers like Hegel, Heidegger, Wittgenstein. The principles and metaphysical foundations of physical sciences are more representative for European modes of thought than the ideas of Hegel, Heidegger and Wittgenstein and they are more precise. And slowly we are beginning to understand these principles. Let me take as an example the interpretation of quantum entanglement by the British mathematician Roger Penrose. Penrose discusses in the year of 2000 the experiences of quantum entanglement where light is separated over a distance of 100 kilometers and still remains connected in an unknown way. These are well known experiments in the last 30 years. Very strange for European modes of thought. The light should be either separated or connected. That is the expectation most European modes of thought tell us. Aristotle had been the first. Aristotle (384 - 322 Before Current Era) was a Greek philosopher, a student of Plato and a teacher of Alexander the Great. He told us the following principle as a metaphysical foundation: Either a situation exists or not. There is not a third possibility. Now listen to Roger Penrose: “Quantum entanglement is a very strange type of thing. It is somewhere between objects being separate and being in communication with each other” (Roger Penrose, The Large, the Small and the Human Mind, Cambridge University Press. 2000 page 66). This sentence of Roger Penrose is a first step of a philosophical generalization in a Whiteheadian sense. 6. Key terms: ‘The metaphysical foundations of modern science’ had been examined particularly by three European and American philosophers: E. A. Burtt, A.N. Whitehead and Hans-Georg Gadamer, by Gadamer eminently in his late writings on Heraclitus and Parmenides. I try to follow the approaches of these philosophers of relational views and of anti-substantialism. By ‘metaphysical foundations’ Edwin Arthur Burtt does not understand transcendental ideas but simply the principles that are underlying sciences. 7. Key terms: ‘Complementarity’, ‘interactions’, ‘entanglements’. Since 1927 quantum physics has three key terms which give an indication to the fundamental physical reality: Complementarity, interactions and entanglement. These three notions are akin to Nagarjuna’s (Kumarajiva’s) relational view of reality. They are akin and they are very precise, so that Buddhism might learn something from these descriptions and quantum physicists might learn from Nagarjuna’s (Kumarajiva’s) examples and views of reality. They might learn to do a first step in a philosophical generalisation of quantum physical experiments. All of us we might learn how objects are entangled or going arm in arm. [The end of the summary.]. (shrink)

For Plato mimesis is the appearance of the external image of things. In his view, the reality was not to be found in the world of objects but in the realm of ideas. Therefore, Plato sees the arts as an occupation that is inferior to science and philosophy, but that is also a potential source of corruption. His concept of imitation, although it evolved over time, led him to take an increasingly dogmatic and intolerant position regarding artistic creation. (...) His notion that poetry is morally dangerous establishes the foundations for a didactic critique, which tends to flourish in societies undergoing political crises. Plato wrote his works during an age of instability and decline; an age when the role of Athens as the leading power in the Mediterranean was beginning to be questioned. Through an analysis of Ion and Books II, III, and X of The Republic, this essay explores the epistemological and moral —rather than aesthetic— nature of Plato’s judgment on the value of Poetry and the Arts. (shrink)