This volume presents discussions on a wide range of topics focused on eco-phenomenology and the interdisciplinary investigation of contemporary environmental thought. Starting out with a Tymieniecka Memorial chapter, the book continues with papers on the foundations, theories, readings and philosophical sources of eco-phenomenology. In addition, it examines issues of phenomenological anthropology, ecological perspectives of the human relationship to nature, and phenomenology of the living body and the virtual body. Furthermore, the volume engages in a dialogue with contemporary behavioral sciences on (...) topics such as eco-alienation, sustainability, and the human relationship to the earth in the context of the cosmos. (shrink)

Musical works change. Bruckner revised his Eighth Symphony. Ella Fitzgerald and many other artists have made it acceptable to sing the jazz standard “All the Things You Are” without its original verse. If we accept that musical works genuinely change in these ways, a puzzle arises: why can’t I change Bruckner’s Eighth Symphony? More generally, why are some individuals in a privileged position when it comes to changing musical works and other artifacts, such as novels, films, and games? (...) I give a view of musical works that helps to answer these questions. Musical works, on this view, are created abstract objects with no parts. The paradigmatic changes that musical works undergo are socially determined normative changes in how they should be performed. Due to contingent social practices, Bruckner, but not I, can change how his symphony should be performed. Were social practices radically different, I would be able to change his symphony. This view extends to abstract artifacts beyond music, including novels, films, words, games, and corporations. (shrink)

The performing arts and their financing have been analyzed by cultural economics. Many papers have focused on importance of state intervention both as a financing agent, as a provider and producer of cultural services. Otherwise, several studies have appeared focusing on management of the performing arts in Management Accounting framework. This paper shows relevance of performance indicators for evaluating cultural policies and focuses on symphony orchestras financed with public funds. The objective is verifying strategy compliance and measure the efficient (...) and effective use of the public resources and evaluate the social and cultural profitability too. This paper also proposes a change in the symphonic orchestras current strategy for increasing social and cultural profitability. (shrink)

Tensions between the domain of reason and the domain of faith have been one of the most controversial issues in the history of our civilization for over three hundred years. They have contributed to many divisions, conflicts, and even wars. Contributions that have sought to reconcile the two domains have largely used the cultural approach in trying to solve this problem. The approach used in this essay views faith and reason from the perspective of cognitive operations. It shows that viewed (...) from this perspective, faith and reason emerge as two aspects of the process of creation of new levels of organization that takes place in the human mind. The essay correlates faith and reason with such cognitive operations as equilibration and the production of disequilibrium. This approach shows that there is no fundamental ontological contradiction between faith and reason, and that cooperation between them is not only possible but is actually essential for sustaining our mental work and the survival of our civilization. (shrink)

Tensions between the domain of reason and the domain of faith have been one of the most controversial issues in the history of our civilization for over three hundred years. They have contributed to many divisions, conflicts, and even wars. Contributions that have sought to reconcile the two domains have largely used the cultural approach in trying to solve this problem. The approach used in this essay views faith and reason from the perspective of cognitive operations. It shows that viewed (...) from this perspective, faith and reason emerge as two aspects of the process of creation of new levels of organization that takes place in the human mind. The essay correlates faith and reason with such cognitive operations as equilibration and the production of disequilibrium. This approach shows that there is no fundamental ontological contradiction between faith and reason, and that cooperation between them is not only possible but is actually essential for sustaining our mental work and the survival of our civilization. (shrink)

In his Eighth Symphony Gustav Mahler envisions modern artistic production to steer clear of an alternative emerging at the time: that between popular music on the one hand and esoteric avantgarde music on the other; Mahler’s music is meant to reach the masses, but without descending to audiences’ lowest common denominator. One query through which Mahler’s paradoxical aesthetic vision of an ‘individualism for the masses’ can be explored has been hinted at by the composer himself: Does his integral symphonic (...) work of art (‘Gesamtkunstwerk’) include or rather exclude chamber music? (shrink)

Plays, symphonies and other works in the performing arts are generally regarded, ontologically speaking, as being types, with individual performances of those works being regarded as tokens of those types. But I show that there is a logical feature of type theory which makes it impossible for such a theory to satisfactorily explain a 'double performance' case that I present: one in which a single play performance is actually a performance of two different plays. Hence type theories fail, both for (...) plays and for the related performing art of music as well. (shrink)

Beach's Gaelic Symphony is plausibly an abstract object that Beach created. The view that people create some abstract objects is called abstract creationism. There are abstract creationists about many kinds of objects, including musical works, fictional characters, arguments, words, internet memes, installation artworks, bitcoins, and restaurants. Alternative theories include materialism and Platonism. This paper discusses some of the most serious objections against abstract creationism. Arguably, these objections have ramifications for questions in metaphysics pertaining to the abstract/concrete distinction, time, causation, (...) vague existence, vague identity, and inadvertent creation. (shrink)

Words, languages, symphonies, fictional characters, games, and recipes are plausibly abstract artifacts— entities that have no spatial location and that are deliberately brought into existence as a result of creative acts. Many accept that composition is unrestricted: for every plurality of material objects, there is a material object that is the sum of those objects. These two views may seem entirely unrelated. I will argue that the most influential argument against restricted composition—the vagueness argument—doubles as an argument that there can (...) be no abstract artifacts. There is no way to resist the vagueness argument against abstract artifacts that does not also undermine the vagueness argument against restricted composition. (shrink)

The question of forgiveness in politics has attained a certain cachet. Indeed, in the fifty years since Arendt commented on the notable absence of forgiveness in the political tradition, a vast and multidisciplinary literature on the politics of apology, reparation, and reconciliation has emerged. To a novice scouring the relevant literatures, it might appear that the only discordant note in this new veritable symphony of writings on political forgiveness has been sounded by philosophers. There is a more-than-healthy cynicism directed (...) at what many philosophers see as an uncritical promotion of forgiveness, which – they fear – risks distorting and cheapening forgiveness as a moral ideal, on the one hand, and ignoring the moral and political values of justice, accountability and the cessation of harmful relationships, on the other. Are philosophical fears about the dangers of thinking about forgiveness in political terms warranted – or do they perhaps depend in part on conceptual conservatism regarding what exactly political forgiveness might be? I argue that most, if not all, standard objections to political forgiveness emerge from theoretical reliance on a picture of forgiveness I will call the Emotional Model. Once we make conceptual space for descriptions of forgiveness in performative and social terms, the concept is more easily adapted to a political account without at least some of the risks feared by philosophers. (shrink)

Atheists are frequently demonized as arrogant intellectuals, antagonistic to religion, devoid of moral sentiments, advocates of an "anything goes" lifestyle. Now, in this revealing volume, nineteen leading philosophers open a window on the inner life of atheism, shattering these common stereotypes as they reveal how they came to turn away from religious belief. These highly engaging personal essays capture the marvelous diversity to be found among atheists, providing a portrait that will surprise most readers. Many of the authors, for example, (...) express great affection for particular religious traditions, even as they explain why they cannot, in good conscience, embrace them. None of the contributors dismiss religious belief as stupid or primitive, and several even express regret that they cannot, or can no longer, believe. Perhaps more important, in these reflective pieces, they offer fresh insight into some of the oldest and most difficult problems facing the human mind and spirit. For instance, if God is dead, is everything permitted? Philosophers without Gods demonstrates convincingly, with arguments that date back to Plato, that morality is independent of the existence of God. Indeed, every writer in this volume adamantly affirms the objectivity of right and wrong. Moreover, they contend that secular life can provide rewards as great and as rich as religious life. A naturalistic understanding of the human condition presents a set of challenges--to pursue our goals without illusions, to act morally without hope of reward--challenges that can impart a lasting value to finite and fragile human lives. Collectively, these essays highlight the richness of atheistic belief--not only as a valid alternative to religion, but as a profoundly fulfilling and moral way of life. "This Atheists R Us compilation differs markedly in tone from Hitchens and Dawkins. Excellent fare for Christian small groups whose members are genuinely interested in the arguments raised by atheists." --Christianity Today "Readable, personal, and provocative.... Contrary to the popular image, atheism isn't all rebellious trumpets and defiant drums.... Here we have all the varieties of unreligious experience, a full symphony of unbelief." --Free Inquiry "Compelling and sophisticated arguments that religious people ought to confront." --Tikkun. (shrink)

Visitors is a hybrid art film fusing photography and music into a complex abstract texture for the attention of the viewer. It is also a requiem for our ‘New Order for the Ages’ in which humanity grows more and more technologically interconnected and communality means being alone together. We argue that Visitors can be experienced as a seeing aid designed to situate the viewer bewilderingly as needing to reacquire the capacity to see human beings as human beings. This is achieved (...) by various cinematic strategies of dépaysement, which render the familiar uncommon again by enabling us to recapture the uncanniness of what it is to be human. Most strikingly, seeing one another anew is facilitated in Visitors by the autonomous gradual musical processes of Philip Glass’s minimalist score, which not only affords a musical narrative for the imagery but also binds the film ironically to Beethoven’s Ninth Symphony. (shrink)

Congdon (2017), Giladi (2018), and McConkey (2004) challenge feminist epistemologists and recognition theorists to come together to analyze epistemic injustice. I take up this challenge by highlighting the failure of recognition in cases of testimonial and hermeneutical injustice experienced by victims of sexual harassment and sexual assault. I offer the #MeToo movement as a case study to demonstrate how the process of mutual recognition makes visible and helps overcome the epistemic injustice suffered by victims of sexual harassment and sexual assault. (...) I argue that in declaring “me too,” the epistemic subject emerges in the context of a polyphonic symphony of victims claiming their status as agents who are able to make sense of their own social experiences and able to convey their knowledge to others. (shrink)

Physics presents us with a symphony of natural constants: G, h, c, etc. Up to this point, constants have received comparatively little philosophical attention. In this paper I provide an account of dimensionful constants, in particular the gravitational constant. I propose that they represent inter-quantity structure in the form of relations between quantities with different dimensions. I use this account of G to settle a debate over whether mass scalings are symmetries of Newtonian Gravitation. I argue that they are (...) not, but only if we interpret mass anti-quidditistically. This is analogous to anti-haecceitism in the presence of spacetime symmetries. (shrink)

This study investigated the experiences of Physical Science teachers who were not specialized in their field. Twelve out-of-field Physical Science teachers, selected via purposive sampling from the Schools Division of Baybay City, participated in the transcendental phenomenological study. For data collection and subsequent thematic analysis using Colaizzi's seven steps, in-depth semi-structured interviews were utilized. Five metaphors describe the study's findings in the form of emergent themes. The first theme is the Chameleon teacher described as an adaptable teacher, analogous to a (...) chameleon that alters its coloration to blend into its surroundings. Developing a resilient mindset is the second aspect, symbolized by the Phoenix Within, which signifies the capacity to triumph over challenges. Thirdly, the Symphony of Knowledge symbolizes teachers' and learners' synergistic partnership and active participation throughout the educational journey. The fourth theme, the Gardener of Knowledge, compares an educator to a conscientious gardener who nurtures their development and that of their students. Crossing Unfamiliar Territory is another theme that examines Physical Science teachers' difficulties when instructing outside their field. As a result, the experiences of these teachers mitigate the issue at hand, thus positively impacting the student's academic development. Sustaining resilience in the face of adversity was inexplicably enhanced through implementing fostering strategies and cultivating a positive mindset. Similar to the adverse encounters, they must confront the obstacles posed by their lack of pedagogical expertise, content knowledge, and struggles. The favorable and unfavorable experiences of physical science teachers who did not specialize in their field provided them professional development opportunities. They underscored the value of maintaining a positive outlook. (shrink)

Studies of the origins of Mikhail Bakhtin’s thought have tended to either follow a traditional intellectual history paradigm—where establishing the presence of an influence is taken to be a sign of Bakhtin’s identity as a thinker—or to view terminological and conceptual borrowings in Bakhtin’s work as mere veneer in which he dressed his own ideas to make them publishable or acceptable to his peers in a hostile political and intellectual environment. And while Bakhtin did absorb some genuine formative influences, and (...) did use some terms and ideas as mere masks, a much more interesting and unusual pattern of appropriating others’ voices is evident in, and typical of, Bakhtin’s writings. -/- In this talk I illustrate this pattern of appropriation by looking at three examples, all related to Bakhtin’s early philosophy (where the use of “masked” writing was not yet necessary), and both involving Kantianism and neo-Kantianism (cited by many as major influences, in the traditional sense, on Bakhtin). The first of these examples is the way in which Bakhtin reinterprets Kant’s “Copernican revolution”. The second is the way in which Herman Cohen’s account of God’s uniqueness in monotheism is reflected in Bakhtin’s early ethics. The third involves a passage in Paul Natorp’s book Sozial-Idealismus as anticipating Bakhtin’s views on language and dialogue, but within a philosophical context Bakhtin rejected. All these examples (and many others) demonstrate the way Bakhtin, from the outset, works with the voices and ideas of others. Bakhtin’s approach—I shall argue—is not so much that of a scholar examining the claims made by his predecessors, accepting some and rejecting others, but rather, is akin to that of a composer, who integrates and combines motifs and passages adopted from others’ works into the fabric of his symphony, where they acquire new meaning in a new context. (shrink)

Since the beginning of the 21st century, technologies like neural networks, deep learning and “artificial intelligence” (AI) have gradually entered the artistic realm. We witness the development of systems that aim to assess, evaluate and appreciate artifacts according to artistic and aesthetic criteria or by observing people’s preferences. In addition to that, AI is now used to generate new synthetic artifacts. When a machine paints a Rembrandt, composes a Bach sonata, or completes a Beethoven symphony, we say that this (...) is neither original nor real art, but simply the complex imitation and reproduction of existing products of human culture. We face the old question concerning the nature of creativity: what kind of recombination of ideas, unusual analogies, and conceptual connections are considered the mark of originality? Can AI produce artworks? Could machines reach a point at which we consider them genuinely creative? We also need to investigate the challenges posed by AI-art to the notion of authoriality: Who is the author of an artificially generated artifact? An artificial system could be considered just an artist’s and a programmer’s tool. However, we are also fascinated by the idea of autonomous artificial creativity in the aesthetic domain, as a manifestation of highly intelligent behavior. This paper will try to define some key questions around what could it mean to consider a machine creative or even equipped with artistic intentionality. (shrink)

The question of how people change artworks is important for the metaphysics of art. It’s relatively easy for anyone to change a painting or sculpture, but who may change a literary or musical work is restricted and varies with context. Authors of novels and composers of symphonies often have a special power to change their artworks. Mary Shelley revised Frankenstein, and Tchaikovsky revised his Second Symphony. I cannot change these artworks. In other cases, such as those involving jazz standards (...) and folk songs, performers and ordinary folks have more power to change artworks. My preferred explanation of these facts is the created-abstract-simples view, according to which literary and musical works, unlike paintings and sculptures, are created abstract objects that have no parts. On this view, the way to change a literary or musical work is for an individual, empowered by social practices, to change rules about how a literary work should be published or a musical work should be performed. A. R. J. Fisher and Caterina Moruzzi object that the created-abstract-simples view doesn’t allow for literary and musical works to genuinely change, and Nemesio Garcia-Carríl Puy objects that the view doesn’t allow for these artworks to be repeatable. This paper clarifies the created-abstract-simples view and defends the view against these objections. -/- . (shrink)

This article is a study with the heading of moral philosophy in age of Enlightenment, to bring together Immanuel Kant, the great philosopher of Enlightenment age and launcher of a new age in history of philosophy and Ludwig van Beethoven, the great composer who was contemporary of him and launcher of a new age in music history. The first part of article is an investigation of the systems of metaphysical philosophy exposed by eminent philosophers since Platon to Kant in general. (...) Henceforth, it is striven to reveal the metaphysics of Kant by means of his way of speculate about it in a different way than all philosophers before him and way of achieve philosophical revolution. The moral philosophy which is in central position of his system of metaphysics has been main theme of this article. In this study, research based on the exposition of moral way of life and world view by Kant and it's influence on the music of Beethoven. It is invesitgated in the last part of article as one of the very crucial example how the musical content of Ninth Symphony by Beethoven is determined by that influence. This work has been a milestone in the music history likewise the break a new ground in philosophy by Kant. Furthermore, year 2020 is coming across the 250th anniversary of birth of Beethoven was an inspiration for this article. (shrink)

The time of the Reverie. Memory and duration in Rousseau There are three modes adopted by the temporal succession to which we are subjected: succession of desires, succession of identities and succession of instants. But happiness is a permanent state; therefore, it is not a state that corresponds to man. We propose that succession is the horizon from which Rousseau thinks about the possibility of happiness that, being discontinuous and brief, can achieve a permanence that results from another experience of (...) time that we will call duration. Our hypothesis is: firstly, that this possibility is available thanks to memory given over daydream (rêverie); secondly, that this memory is a memory of love because love, like happiness, aspires to eternity. We examine the main feature of duration, that is: the past is preserved in the present without being confused with it, just as each past note of a melody is somehow preserved in the present one. Past times are never lost times. We consider two discoveries by Rousseau, the sensitive memory and the memorious imagination, to show the interplay between memory and personal identity. Finally, we venture a comparison with the duration according to Bergson through the metaphor of a symphony and we confront this memory in love with the memory of pain inaugurated by Nietzsche in his Genealogy of Morality. -/- El tiempo del ensueño. Memoria y duración en Rousseau Tres son los modos que toma la sucesión temporal a la que estamos sometidos: sucesión de deseos, de identidades y de instantes. Pero la felicidad es un estado permanente, luego, ella no es un estado que corresponda al hombre. Proponemos que la sucesión es el horizonte desde el cual Rousseau piensa la posibilidad de una felicidad que, siendo discontinua y breve, pueda alcanzar una permanencia que resulta de otra experiencia del tiempo que nombraremos duración. Nuestra tesis es: primero, dicha posibilidad está abierta gracias a la memoria librada al ejercicio del ensueño; segundo, esa memoria es una memoria enamorada porque el amor, como la felicidad, aspira eternidad. Examinamos el rasgo principal de la duración, este es: el pasado se conserva en el presente sin confundirse con él tal como sucede cada una de las notas de una melodía. El tiempo pasado nunca es un tiempo perdido. Nos detenemos en dos descubrimientos de Rousseau, el de una memoria sensitiva y una imaginación memoriosa para mostrar la articulación entre memoria e identidad personal. Finalmente, arriesgamos la comparación con la duración según Bergson através de metáfora de la sinfonía y confrontamos esta memoria enamorada con la memoria del dolor que inaugura Nietzsche en la Genealogía de la moral. (shrink)

‘Experience is the best teacher’ goes the cliché without ever making clear just want is meant by that slippery first term. ‘Experience is never remembered unaltered’ goes another. Is experience something to be undergone, like a journey, or is it perhaps the relational immediacy between organism and environment? What do we reference when we use the term experience? -/- Martin Jay, renowned intellectual historian from UC Berkeley, here examines these questions in a grand survey of the term’s use throughout the (...) intellectual history of what was once called Western Civilization. Beginning with the ancient Greeks (of course), he reviews the surprising number of variations employed and assumed by philosophers, theologians critical theorists, and right up to the poststructuralists. Jay knows his territory and reading this survey of it — for anyone with any sort of background in the history of philosophy — is often as pleasant as hearing a familiar symphony well-played in a unique way. (shrink)

The main ideas of the EDWs perspective are in Gabriel Vacariu’s PhD thesis posted online by UNSW (Australia) in 2007!!! I have realized the GREATEST discovery in the history of human knowledge: the EDWs! With discovering the EDWs, I have changed everything in Philosophy, Physics and Cognitive Neuroscience! This has been the main reason, so many people have published UNBELIEVABLE similar ideas to my ideas, many years I published my first works! -/- UNBELIEVABLE, many (hundreds) “great” or small thinkers did (...) the same thing in 2006-2007 and later: they published the same ideas, UNBELIEVABLE similar to my ideas from 2002-2005! They believe they would be considered co-authors of the same new framework of thinking. They did not know that many “professors” would do the same thing: they plagiarized my ideas and they hurry up to published their work as soon as possible (in 2006-2007, depending when they discovered my article 2005). So, in the same 2 years, many people “discovered” the same new framework of thinking, the EDWs perspective, each of them did not think that there would be so many other people doing the same thing, that is, many people “discovered” the same new framework (the greatest challenge in the history of human thinking!) in the same period! Such coincidences (the discovery of the EDWs in the same two years!!!) are quite IMPOSSIBLE!! This is the reason nobody quoted my name, but nobody quoted any name who PLAGIARIZED my ideas… In 2006-2007, I was wondering why nobody quote my name, but in fact, they plagiarized my ideas. Nobody discovered this framework of thinking 2500 years, and in 2-3 years, many people discovered it!!!! IMPOSSIBLE!!!! There were some "professors" who published articles/chapters very close to Bohr's complementarity, Dirac, de Broglie's dualism before 2005 (for instance Carlo Rovelli 1996 or Ladyman), but their works were constructed within the "unicorn world" (Universe/world), therefore, these works had nothing in common with the EDWs perspective!!!! In reality, all of them plagiarized my ideas! It was like many people composed Beethoven Fifth’s Symphony, claiming that they never listen Beethoven! Who would be so stupid to believe them? (shrink)

The main ideas of the EDWs perspective are in Gabriel Vacariu’s PhD thesis posted online by UNSW (Australia) in 2007!!! I have realized the GREATEST discovery in the history of human knowledge: the EDWs! With discovering the EDWs, I have changed everything in Philosophy, Physics and Cognitive Neuroscience! This has been the main reason, so many people have published UNBELIEVABLE similar ideas to my ideas, many years I published my first works! -/- UNBELIEVABLE, many (hundreds) “great” or small thinkers did (...) the same thing in 2006-2007 and later: they published the same ideas, UNBELIEVABLE similar to my ideas from 2002-2005! They believe they would be considered co-authors of the same new framework of thinking. They did not know that many “professors” would do the same thing: they plagiarized my ideas and they hurry up to published their work as soon as possible (in 2006-2007, depending when they discovered my article 2005). So, in the same 2 years, many people “discovered” the same new framework of thinking, the EDWs perspective, each of them did not think that there would be so many other people doing the same thing, that is, many people “discovered” the same new framework (the greatest challenge in the history of human thinking!) in the same period! Such coincidences (the discovery of the EDWs in the same two years!!!) are quite IMPOSSIBLE!! This is the reason nobody quoted my name, but nobody quoted any name who PLAGIARIZED my ideas… In 2006-2007, I was wondering why nobody quote my name, but in fact, they plagiarized my ideas. Nobody discovered this framework of thinking 2500 years, and in 2-3 years, many people discovered it!!!! IMPOSSIBLE!!!! There were some "professors" who published articles/chapters very close to Bohr's complementarity, Dirac, de Broglie's dualism before 2005 (for instance Carlo Rovelli 1996 or Ladyman), but their works were constructed within the "unicorn world" (Universe/world), therefore, these works had nothing in common with the EDWs perspective!!!! In reality, all of them plagiarized my ideas! It was like many people composed Beethoven Fifth’s Symphony, claiming that they never listen Beethoven! Who would be so stupid to believe them? (shrink)

The main ideas of the EDWs perspective are in Gabriel Vacariu’s PhD thesis posted online by UNSW (Australia) in 2007!!! I have realized the GREATEST discovery in the history of human knowledge: the EDWs! With discovering the EDWs, I have changed everything in Philosophy, Physics and Cognitive Neuroscience! This has been the main reason, so many people have published UNBELIEVABLE similar ideas to my ideas, many years I published my first works! -/- UNBELIEVABLE, many (hundreds) “great” or small thinkers did (...) the same thing in 2006-2007 and later: they published the same ideas, UNBELIEVABLE similar to my ideas from 2002-2005! They believe they would be considered co-authors of the same new framework of thinking. They did not know that many “professors” would do the same thing: they plagiarized my ideas and they hurry up to published their work as soon as possible (in 2006-2007, depending when they discovered my article 2005). So, in the same 2 years, many people “discovered” the same new framework of thinking, the EDWs perspective, each of them did not think that there would be so many other people doing the same thing, that is, many people “discovered” the same new framework (the greatest challenge in the history of human thinking!) in the same period! Such coincidences (the discovery of the EDWs in the same two years!!!) are quite IMPOSSIBLE!! This is the reason nobody quoted my name, but nobody quoted any name who PLAGIARIZED my ideas… In 2006-2007, I was wondering why nobody quote my name, but in fact, they plagiarized my ideas. Nobody discovered this framework of thinking 2500 years, and in 2-3 years, many people discovered it!!!! IMPOSSIBLE!!!! There were some "professors" who published articles/chapters very close to Bohr's complementarity, Dirac, de Broglie's dualism before 2005 (for instance Carlo Rovelli 1996 or Ladyman), but their works were constructed within the "unicorn world" (Universe/world), therefore, these works had nothing in common with the EDWs perspective!!!! In reality, all of them plagiarized my ideas! It was like many people composed Beethoven Fifth’s Symphony, claiming that they never listen Beethoven! Who would be so stupid to believe them? (shrink)

The main ideas of the EDWs perspective are in Gabriel Vacariu’s PhD thesis posted online by UNSW (Australia) in 2007!!! I have realized the GREATEST discovery in the history of human knowledge: the EDWs! With discovering the EDWs, I have changed everything in Philosophy, Physics and Cognitive Neuroscience! This has been the main reason, so many people have published UNBELIEVABLE similar ideas to my ideas, many years I published my first works! -/- UNBELIEVABLE, many (hundreds) “great” or small thinkers did (...) the same thing in 2006-2007 and later: they published the same ideas, UNBELIEVABLE similar to my ideas from 2002-2005! They believe they would be considered co-authors of the same new framework of thinking. They did not know that many “professors” would do the same thing: they plagiarized my ideas and they hurry up to published their work as soon as possible (in 2006-2007, depending when they discovered my article 2005). So, in the same 2 years, many people “discovered” the same new framework of thinking, the EDWs perspective, each of them did not think that there would be so many other people doing the same thing, that is, many people “discovered” the same new framework (the greatest challenge in the history of human thinking!) in the same period! Such coincidences (the discovery of the EDWs in the same two years!!!) are quite IMPOSSIBLE!! This is the reason nobody quoted my name, but nobody quoted any name who PLAGIARIZED my ideas… In 2006-2007, I was wondering why nobody quote my name, but in fact, they plagiarized my ideas. Nobody discovered this framework of thinking 2500 years, and in 2-3 years, many people discovered it!!!! IMPOSSIBLE!!!! There were some "professors" who published articles/chapters very close to Bohr's complementarity, Dirac, de Broglie's dualism before 2005 (for instance Carlo Rovelli 1996 or Ladyman), but their works were constructed within the "unicorn world" (Universe/world), therefore, these works had nothing in common with the EDWs perspective!!!! In reality, all of them plagiarized my ideas! It was like many people composed Beethoven Fifth’s Symphony, claiming that they never listen Beethoven! Who would be so stupid to believe them? (shrink)

The main ideas of the EDWs perspective are in Gabriel Vacariu’s PhD thesis posted online by UNSW (Australia) in 2007!!! I have realized the GREATEST discovery in the history of human knowledge: the EDWs! With discovering the EDWs, I have changed everything in Philosophy, Physics and Cognitive Neuroscience! This has been the main reason, so many people have published UNBELIEVABLE similar ideas to my ideas, many years I published my first works! -/- UNBELIEVABLE, many (hundreds) “great” or small thinkers did (...) the same thing in 2006-2007 and later: they published the same ideas, UNBELIEVABLE similar to my ideas from 2002-2005! They believe they would be considered co-authors of the same new framework of thinking. They did not know that many “professors” would do the same thing: they plagiarized my ideas and they hurry up to published their work as soon as possible (in 2006-2007, depending when they discovered my article 2005). So, in the same 2 years, many people “discovered” the same new framework of thinking, the EDWs perspective, each of them did not think that there would be so many other people doing the same thing, that is, many people “discovered” the same new framework (the greatest challenge in the history of human thinking!) in the same period! Such coincidences (the discovery of the EDWs in the same two years!!!) are quite IMPOSSIBLE!! This is the reason nobody quoted my name, but nobody quoted any name who PLAGIARIZED my ideas… In 2006-2007, I was wondering why nobody quote my name, but in fact, they plagiarized my ideas. Nobody discovered this framework of thinking 2500 years, and in 2-3 years, many people discovered it!!!! IMPOSSIBLE!!!! There were some "professors" who published articles/chapters very close to Bohr's complementarity, Dirac, de Broglie's dualism before 2005 (for instance Carlo Rovelli 1996 or Ladyman), but their works were constructed within the "unicorn world" (Universe/world), therefore, these works had nothing in common with the EDWs perspective!!!! In reality, all of them plagiarized my ideas! It was like many people composed Beethoven Fifth’s Symphony, claiming that they never listen Beethoven! Who would be so stupid to believe them? (shrink)

The main ideas of the EDWs perspective are in Gabriel Vacariu’s PhD thesis posted online by UNSW (Australia) in 2007!!! I have realized the GREATEST discovery in the history of human knowledge: the EDWs! With discovering the EDWs, I have changed everything in Philosophy, Physics and Cognitive Neuroscience! This has been the main reason, so many people have published UNBELIEVABLE similar ideas to my ideas, many years I published my first works! -/- UNBELIEVABLE, many (hundreds) “great” or small thinkers did (...) the same thing in 2006-2007 and later: they published the same ideas, UNBELIEVABLE similar to my ideas from 2002-2005! They believe they would be considered co-authors of the same new framework of thinking. They did not know that many “professors” would do the same thing: they plagiarized my ideas and they hurry up to published their work as soon as possible (in 2006-2007, depending when they discovered my article 2005). So, in the same 2 years, many people “discovered” the same new framework of thinking, the EDWs perspective, each of them did not think that there would be so many other people doing the same thing, that is, many people “discovered” the same new framework (the greatest challenge in the history of human thinking!) in the same period! Such coincidences (the discovery of the EDWs in the same two years!!!) are quite IMPOSSIBLE!! This is the reason nobody quoted my name, but nobody quoted any name who PLAGIARIZED my ideas… In 2006-2007, I was wondering why nobody quote my name, but in fact, they plagiarized my ideas. Nobody discovered this framework of thinking 2500 years, and in 2-3 years, many people discovered it!!!! IMPOSSIBLE!!!! There were some "professors" who published articles/chapters very close to Bohr's complementarity, Dirac, de Broglie's dualism before 2005 (for instance Carlo Rovelli 1996 or Ladyman), but their works were constructed within the "unicorn world" (Universe/world), therefore, these works had nothing in common with the EDWs perspective!!!! In reality, all of them plagiarized my ideas! It was like many people composed Beethoven Fifth’s Symphony, claiming that they never listen Beethoven! Who would be so stupid to believe them? (shrink)