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The text examines ethical and legal issues eristikata. Freedom, rights, responsibility, social communication, social network. Eristikata autistic. Eristikata as polemical practice. legal and political eristika.
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The phenomenology of imagination must be built on the becoming of the specific phenomena produced by the creative power of the imagination. Here the imagination is established as an autonomous faculty with its own region, and the constitution of its phenomena aims to build the art image. The genesis of the art image is defined in the conditions of Kant’s productive synthesis, carried out on autonomous procedures and rules, and the steps in the generation of the art image in the pure continuum of intuition are traced. The objective modes in the work of the imagination are subdivided into real, on depiction and generalization of external reality, purely fantastic, on an entirely artistically generated world, and hybrid, which always mixes elements of the real and the fantastic. As a telos of the art phenomenon, the relation towards the Absolute Ideal of Beautiful is stated, which relation is understood by Husserl as “setting the norm” of ideality for the art object.
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The question of the cognitive value of art is considered from the general perspective of contemporary cognitive-anti-cognitive debate. The article is devoted to the question of whether art can be a source of knowledge and what kind of knowledge. The arguments for and against the cognitive function of art are considered in light of the historical development of this debate from Plato and Aristotle to the present. The cognitive value of art is examined in its relation to the aesthetic and moral value of art. Art as a source of knowledge is conceptualized in terms of history, aesthetics, axiology, philosophy of art and art criticism.
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The text comments on the reflections of the Russian thinker Sergei Bulgakov on death, presented in the light of his doctrine of Σοφία. The article traces in chronological order the development of the theme of death in his works, beginning with the pre-revolutionary works “Philosophy of Economy” (1912) and “Unfading Light: Contemplations and Speculations” (1917), and ending with “Sophiology of Death” (1940). The author describes Bulgakov's three meetings with death, which gave rise to his special sophiology of death. The notion of death is analyzed as included in the divine kenosis, and not as an ontological misunderstanding. Death is also seen as a moment present in the dialectic of life – It does not disturb the beauty of creation.
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Before embarking on that ambivalent meaning that presents the mask as a variant of the idea of the other, of the double, it was part of the ritual-sacred existence of the first human societies. The current social situation, the extreme living conditions, once again gave the mask a chance – to take on a new role and perform new functions. The text examines both the historical variability of the meanings of the mask and its presence in the life of modern man as a barrier and shield for human life, but also an isolating component, behind which the person falls into unnatural isolation and even more unnatural loneliness.
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In the context of the theoretical uncertainty of the phenomenon of Architecture, two opposing positions are compared, after some similarities between them have been identified. One belongs to the author, Assoc. Prof. Dr. Arch. Emil Yordanov, to which he dedicated a monograph. The idea is to clarify the phenomenon of Architecture by delving into the stages of its development, in parallel with the determining stages in the development of culture and mentality. Within this interaction, personal architectural professionalism is being cultivated. The other position – of Assoc. Prof. Dr. Arch. Todor Tsigov, accepts Architecture as a myth, whose utilitarian and artistic sides are (respectively) real and similar, i. e. – qualitatively different manifestations of essence, that do not interact objectively: two autonomous objects in a common entity. The interaction with the real manifestations of essence turns out to be a ritual towards the similar, mythologising them as real. Out of this follows the suggestive potential of Architecture and a conclusion about the architectural nature of perceptions and the religious nature of the psyche. The comparison between the two theses reveals unusual aspects of the phenomenon Architecture – beyond the professional practice, with humanitarian and philosophical significance.
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Nozick (1977) was a critique of the view of Austrian economics which rejected the notion of indifference in human action. This author claimed that this stance was incompatible with the notion of the supply of a good, and, also, with diminishing marginal utility, both of which were strongly supported by this praxeological school of thought. Block (1980) was an attempt to rescue the Austrian school from this brilliant intellectual challenge. Hoppe (2005; 2009) rejected Nozick’s challenge, and, also, Block’s (1980) response. Block (2009a) and Block and Barnett (2010), defended Block’s (1980) analysis of indifference. The latest contribution to this ongoing discussion is Wysocki (2021) who maintains that Hoppe was correct in his rejection of Nozick, while Block was not. The present paper is a rejoinder to Wysocki (2021).
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The main purpose of this article is to discuss the views of the Jesuit Stanisław Dunin–Borkowski (1864–1934) about Albert Einstein’s theory of relativity. These days, Dunin–Borkowski is a rather obscure figure despite rising to fame in the interwar period as an outstanding expert in the philosophy of Baruch Spinoza. Thus, the secondary aim of this article is to remind ourselves of this somewhat forgotten scholar. As a researcher, writer, and pedagogue, Dunin–Borkowski was interested in numerous fields of knowledge. Among these were the natural sciences, including physics and the influence that new physical theories had on philosophical thought. This present study therefore fills a gap in the existing research about how Polish philosophers received Einstein’s theories. The example of Dunin–Borkowski also serves as a basis for discussing some of the fundamental problems of neo-scholasticism in receiving new mathematicised scientific theories.
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A short survey is conducted on the “architectonic” concepts lying behind the variety of Montaigne’s essays. This, according to the paradigmatic scheme for movement from the subjective (Spirit) through the objective (space) and their culmination into historicity (fate). Some elements of nominalism and pragmatism are being identified, along with elements of representationism in the field of epistemology. Special attention is drawn to the spatial characteristics of human emotional life according to the author, as well as to his ideas that supposedly stand close to deism and stoicism.
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Jan Pinborg’s article Speculative Grammar traces in a historical and problematical way basic questions of the semantic doctrine of modes of signifying (the theory of speculative grammars). Speculative grammars are investigated: (1) from their appearance and historical and conceptual ground (Aristotle and his Arabic commentators, Donatus, Priscian); (2) through the development and sophistication of the system of modes of signifying (considering in the same time its ontological and logical aspects); 3) to the theoretical criticism against them and the appearance of alternative semantic conceptions (Roger Bacon, Ockham, Buridan…). The importance of the modistic doctrine for the further development of the logic and theoretical grammar is pointed out. A particular emphasis is put on the semantic character of the speculative grammars, together with its systematical account.
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The article aims to substantiate the genesis of consciousness and self-consciousness through metaphysical thinking. Metaphysical thinking is explicated as a transcendence that a priori determines every possible object of consciousness. In this sense, metaphysical thinking determines a priori the unity of existence. Existence is explicated as a unity of the interpretive models of consciousness. Thus, metaphysical thinking is seen as a function of the transcendent unity that is the a priori truth of the consciousness’ genesis. The logical relation between metaphysical thinking and consciousness is expressed by asymmetric implication. In this way, existence in the language of consciousness is phenomenologized. Thus arises the ontological understanding of existence. In this sense, metaphysical thinking determines the transcendental form of consciousness and the ontological form of existence.
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The article presents the philosophical foundations of the Pedagogy of Informal Education, created by the author in 2020 as a new self-contained branch of pedagogy. The retrospective philosophical-pedagogical overview of the development of informal education from antiquity to the present day includes 40 authors from 16 chronological stages. As criteria for the selection of ideas and their authors, own definitions of self-development and the components of the educational triad of formal, non-formal and informal education are used. The presented philosophical and pedagogical ideas unequivocally show that historically the first type of pedagogy known to mankind is the Pedagogy of informal education as a means of influencing people of different ages in order to survive, preserve the basic values of the era and transfer the accumulated life experience. It also illustrates the possibility of each person taking on the role of an informal educator under different circumstances.
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The creative mental process is one of the most essential psychological elements of the conducting art, having a specific position in the shaping and interpretation of the music. It is of a great importance for the entire creative conducting process and underlies the establishing ideas regarding the shape of the music, its structure and texture, as well as the content of the piece in terms of its style, dramaturgy and philosophy. Various factors of the mental process and the qualities of the conductor’s mind are forming the basis of the successful work in any field of conducting – orchestra, choir, ensemble. The convergent and divergent thinking in the conducting process is very important and creates the individual features of the conductor’s personality. Strongly connected to the other basic cognitive processes (perceptions, memory, concentration, attention and performance), as well as to the emotions and willpower, the mental process is playing the role of an “engine” in the conductor’s creativity.
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This article first outlines some of the basic lines of recent Catholic social ethics, as developed in Pope Francis’ encyclical letter Laudato si’ (2015). In his letter which is less fundamental but more prophetic with a strong Franciscan background, Pope Francis continues the thoughts of his predecessor Benedict XVI and Benedict’s encyclical letter Caritas in veritate (2007). In the course of criticizing a misguided reliance on a market economy (and so-called capitalism without adjectives), it is emphasized in this paper that these alone are not sufficient to promote the Common Good or understood as integral to human development and social inclusion in a global world. With a view to the challenges of our time outlined by the encyclicals, the article then wants to focus on an approach to political theology that draws on the tradition of Augustinian thought and offers a solution for the promotion of the Common Good under the circumstances of modernity. The core tenet of so-called Augustinian Liberalism is the demonstration that the central liberal principles of individual freedom and universal equality are not sufficient enough to ensure human flourishing in this world. Despite the eminent importance of democratic constitutional principles, they ultimately fail to comprehensively promote the fulfilment of human life in its individual and social dimensions. They shorten the concept of rational autonomy to self-centred freedom that absolves itself of its responsibility and value-relativist tendencies, the thinkers of Augustinian Liberalism then profile a concept of love based on the thought of St. Augustine as a normative. Their position promotes principles for the political practice of individuals and guidelines for institutions in the liberal constitutional state.
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Art creates a specific relation to time and especially to the present moment. It opens the experience of the present towards its indeterminacy and emergence. On the contrary, AI does not know the present. It recognizes only the past and future. We could even say that artificial neural networks do not “know” time at all. Instead, they know only logical functions which process patterns of information. Yet, what makes time “time” is genuine transformation, which happens outside of the abstract realm of logic. I support these observations by analysing two works of art: Bill Viola’s The Raft (2004) and Hito Steyerl’s This Is the Future (2019). While artistic creation opens up the intervals “in-between seconds” for an unpredictable and transformative event to occur (The Raft), AI closes these intervals and fastens the future into predictability calculated on the basis of past data (This Is the Future). Although this machinic operation makes the present even more unpredictable and prone to catastrophes, its potential for transformation seems to be withdrawn.
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This paper questions the notion of creativity found in certain artworks produced with A.I. technologies. The artistic examples concerned are: The Giver of names by David Rokeby, Oscar by Catherine Ikam and Louis Fléri, and Emotion Vending Machine by Maurice Benayoun. These artworks were selected because they stand out for their autonomous behavior in front of the human public. In this context, creativity is revealed as a consequence of the functional autonomy, which is very typical of these pieces of art. The intention is to establish a relationship between the notion of autonomy and that of creativity, reviewing their meanings and applications in philosophy and in the field of life science. For this, the notion of autonomy is approached from Kant’s definition as a decisive value indicating the moral principle that defines the individual and his free conduct, and then approached as a property of life from Francisco Varela and Humberto Maturana’s research. Autonomy is also a tendency that characterizes a general process of technical lineages according to Chapoutier and Kaplan. In all these studies, autonomy presents complementary meanings that help us to draw parallels with the notion of creativity. The analyzed artworks allow us to visualize some ways of simulating creativity, while offering unique aesthetic experiences. From a broader perspective, this paper promotes the vision that some computer artworks open up as multi-sensory and multi-conceptual universes, projecting original ideas, and making us feel the very human substance of these technologies. Interacting with these artworks, we are placed at the heart of the aesthetic metamorphosis provoked by the phenomenon of the computer revolution.
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The author discusses the problem of what AI is and how we can understand the “anthropocentrism” of AI from a philosophical point of view. Three interpretations of the relationship between humans and technology are presented: 1) AI-aided human intelligence, based on the extension theory of technology (Stiegler, 1998); 2) human-aided AI intelligence, based on ideas related to political economy (Crawford, 2021); and 3) the relativity of the anthropocentric frame of reference (AFR), based on the taxonomy of species. The purpose of the article is to provide considerations of the three different interpretations of the relation-ship between humans and technology and how they lead to different opportunities to answer the question of how we can understand AI’s creativity.
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The review emphasizes the main topics and ideas in Nonka Bogomilova’s book, The Balkans: Marked Roads (1991-2016), and especially the humanist message of the book, which demolishes stereotypes and prejudices about our living space. Special attention is paid to the author’s contribution to Balkan Religious Studies as a personal, experience-based insight into the culture and characterology of the Balkans and the Balkan people.
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