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V. Beron's life and activities ensure the uniformity of our spiritual growth. In his work „Logic" he uses idealistic and teological ideas with aspects of transcendental philosophy. There is a conceptual proximity with Kant in respect of the purpose and the borders of cognition . He accepts philosophy as ontology, gnoseology and methodology simultaneously . He shows the philosophical essence of logic which consists in the search for truth. He poses the conception for the methodological functions of logic and considers the interrelations between psychology and logic, between mathematical and logical thought, too. Beron expresses a dialectical attitude to scientific cognition and thought in his idea of system. The conditions, which he poses, for constructing the systematic entity, get near the contemporary opinion for a syntactic fullness and a logical consistency of the system. His idea concerning the doctrine of system finds it objective expression in the contemporary science for abstract or cybernetic systems.
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In this paper I will investigate and distinguish the basic form and meaning of the overcoming of nihilism in the philosophical thinking of Nietzsche.
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review of: Николина Сретенова. Постмодерната наука и нейните критици. Sofia, Херон Прес, 1998
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Once translated into images, food acquires a broader meaning. Food is no longer merely something to eat, but to show, share and look at. The increasing amount of images and pictures of dishes on our social networks, associated with hashtags such as #foodporn, expresses this renewed social, communicative and provocative function of food. However, the exhibition of these images is quite ambivalent when it comes to establishing determined patterns of visual and social relationships with and between users. The aim of this article is to analyze and attempt to provide mediation to this ambivalence. The pornographic exposition of food images no longer presupposes a transitive form of consumption by the user, but becomes pure and self-reflexing spectacle. The images are obscene (Baudrillard [1981] 1994) and characterized by an excess of transparency on their object which abolishes any form of seduction (Baudrillard [1979] 1990). Barthes ([1980] 1981) defines this kind of image as unary. Pornographic images are an emblematic example. In terms of their self-evident objectivity, these pictures lack any punctum, any piercing sign of a relationship with or openness to the observer (see Eco 1962; 1979). Nevertheless, behind their apparent transparency, the images are always products of specific perspective cuts, and still able to convey mystery, meaning and involvement. The unary image of food is a further fragment in a series of multiple perspectives on the same object. Such potentiality is actualized in our (social) media culture in which sharing and continuous remediation of images and pictures of food constitute a complex storytelling of the object. This, in turn, fosters further participation by the users. The ambivalence between the indifference of the pornographic image and the involvement in the serialization of the detail is synthetized by the notion of fetishism (Baudrillard [1972] 2019). The social (and) media scenery seems to exemplify and radicalize a sort of commodity fetishism, in which social relationships between users are shaped and mediated by (social) media relationships between images of food.
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This article reflects upon the possibility of the visualisation of different forms of collective memory in the city. It focuses on the evolution of the ways of commemorating in public spaces. It juxtaposes traditional monuments erected in commemoration of an event or an “important” person for a community with (counter)monuments as a modern, critical reaction geared towards what is either ignored in historical narratives or what remains on the fringe of collective memory. While following a theoretical exploration of the concepts of memory and their fruition in monuments as well as (counter)monuments, the eventual multimodal analysis central to the paper looks in-depth at Ruth Beckermann’s work The Missing Image (Vienna, 2015). The latter is treated as an example of the possible and manifold interpretations of the function and multiplicity of meanings that (counter)- monuments bring to contemporary urban spaces.
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