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Schmalenbach, Kirsten. "Defending Democracy and the Rule of Law in the Era of Post-Enlargement." Review of Central and East European Law 45, no. 4 (December 16, 2020): 409–31. http://dx.doi.org/10.1163/15730352-bja10037.
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Abstract This contribution critically analyses the four limbs of the EU’s defence mechanism upholding the rule of law within the Union. The first being the individual post accession rule of law mechanism, introduced by the Commission in 2006 for the two new member states Bulgaria and Rumania. The second, and arguably most powerful limb, involves the EU Court of Justice conducting a judicial review of a member state’s rule of law situation, which is of far greater concern for reviewed members than the so-called “nuclear” last-resort option of Art. 7 teu ’s sanction mechanism (fourth limb) that is politically difficult to enact. With a view to the politically fraught Art. 7 teu, the Commission introduced a new “early warning” rule of law framework in 2014 which pre-emptively enables exploring dialogue-based solutions to rule-of law issues as they emerge (third limb).
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Tait, Jack. "Secondary, Near Chaotic Patterns from Analogue Drawing Machines." Mathematics 7, no. 1 (January 15, 2019): 86. http://dx.doi.org/10.3390/math7010086.
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Chaos is now recognized as one of three emergent topics of study in the 21c. It is seen as appropriate to examine this in art practice. Accordingly, this paper is written from an art perspective. It does not mimic a traditional mathematical or science format, presenting hypothesis, repeat testing, and a conclusion. The art process operates differently, and chaos is seen in graphic terms, veers more to philosophy, and is obviously subjective. The intent in researching secondary patterns, near the edge of chaos, is to make expressive graphic art images as art works, testing how close they might come to a chaotic state whilst retaining visual coherence. This underpins the author’s current research, but it is recognised as being a very narrow and specialized subset of analogue art activity. The way in which analogue generative art differs from the more common use of digital computers is addressed. Unlike the latter, the work involves designing and making the machines, making the programmers, and writing the algorithms; this is implicit in the text. A brief look at drawing machine history is presented, demonstrating how the author’s machines differ from others. A contextual cross refence is also made, where appropriate, to artists using digital means. The author’s research has documented practitioners who choose an analogue route to make art. However, hardly any of them create programmes to generate coherent images. This shortage creates problems when attempting to cite similar work. Whilst the general principle underlying the work presented is algorithmic, a significant element of quasi-random input is incorporated, consistent with a study of chaos. Emergent facets are implicit, such as the art process, design problem solving, the relationship between quasi-random and determinism, the psychology of evaluation, and the philosophy of how art works. From the author’s Programmable Analogue Drawing Machines, two are selected for this paper which draw Lissajous figures, use X:Y axes, turntables, Direct Current motors, and an asynchronous pen-lift mechanism. Simple instructions generate complex patterns in a similar vein to Alan Turings topics of phyllotaxis and morphogenesis. These aspects will be discussed, presenting two machines that demonstrate these properties.
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Astrakhan, Natalia. "Metaphor in M. Proust’s Artistic World: From the Being of Art to the Art of Being." Pitannâ lìteraturoznavstva, no. 101 (July 9, 2020): 146–62. http://dx.doi.org/10.31861/pytlit2020.101.146.
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The article deals with the functions of metaphor in the artistic world of M. Proust. In the context of the novel sequence In Search of Lost Time, metaphor becomes a mechanism to implement involuntary memory, which allows to combine the present (impressions) and the past (memories). Metaphor, given by the associative connection between impressions and memories, becomes the main constructive law of the artistic model of reality created by the French writer. The multifunctionality of metaphor correlates with the three forms of the subject of consciousness that appears in the context of the artistic whole of the novel sequence as an author, a narrator and a character. The author organizes the work of involuntary memory, based on the metaphor; the narrator balances what has been fished out of the past against the present with the help of experience associations; the character experiences the impressions by going through discoveries and disappointments. Proust’s lyrical epos gives the subject the ability to move beyond the hellish circle of the present into timeless dimensions. The novels created by the author and the character, intersect creating the effect of full being, allowing the subject of creative consciousness to recover its identity by overcoming painful contradictions of individual existence in the artistic creativity as in the dialogical interaction with the other. By using the formal and the hermeneutical methods with the emphasis on the philosophy of dialogue, the article explores the peculiarities of metaphor functioning at the macro- and microlevels. The former allows to construct the experimental picture of the world at the intersection of different time-space spheres that correlate with each other due to the spiritual and intellectual efforts of the subject. The latter allows us to consider the artistic image based on metaphor the core of the modernist writer’s artistic style and the way to the new concept of artist and art.
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Dolgov, K. M., and E. I. Starikova. "Policy and Culture: From Machiavelli’s Political Philosophy to Kipling’s Political Prophecies." MGIMO Review of International Relations, no. 6(45) (December 28, 2015): 40–50. http://dx.doi.org/10.24833/2071-8160-2015-6-45-40-50.
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The article is concerned with interrelationship of policy and culture, in particular N.Machiavelli's political philosophy and its reflection in some short stories by R.Kipling, one of the most recognized representatives of the British imperial thought. Policy and culture have traditionally been considered almost incompatible spheres of human activity as policy tended to become more and more severe, cynical, "dirty", while culture aspired to develop supreme values and perfect ideals. Sometimes the direct confrontation between policy and religion, policy and morals, policy and law, policy and literature, policy and art in the broad sense of the word could occur. The greatest Renaissance masters - Michelangelo, Leonardo da Vinci, Rafael etc. - actively opposed any evil manifestations: evil ideas, evil words, evil doings, expressing in their masterpieces the highest ideals and values. However, these ideals and values drastically diverged from the reality, political and public relations of the time, the "dirty" policy conducted by the rulers of numerous Italian principalities. It is no coincidence that N.Machiavelli develops his new political philosophy aiming not only to create the strong unitary state, but also to overcome this "dirty" policy at least to a certain extent. Therefore, describing the mechanism of the "dirty" policy that opposes high culture, N.Machiavelli introduces a new political philosophy which should be based on the highest ideals and values. As far as literary art is concerned, one can easily see that such world famous novelists as Kipling, Chekhov, Maupassant and many others reflected in their short stories that very longing for highest values and ideals which are almost absent in political doctrines and political practice. The true policy is necessarily based on the true culture and its values and ideals, whereas the true culture is indispensably connected with the true policy.
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Nakamura, Kyoko. "De-Creation in Japanese Painting: Materialization of Thoroughly Passive Attitude." Philosophies 6, no. 2 (April 19, 2021): 35. http://dx.doi.org/10.3390/philosophies6020035.
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This paper demonstrates the method and meaning behind the argument that contemporary philosophers have found the key to “de-creation” in potentiality by implementing it in artwork. While creation in the usual sense seems to imply an active attitude, de-creation implies a passive attitude of simply waiting for something from the outside by constructing a mechanism to set up the gap to which something outside comes. The methods of de-creation are typically found in representations of reality using “Kakiwari,” which is commonly observed in Japanese art. Kakiwari was originally a stage background and has no reverse side; that is, there is no other side to the space. Mountains in distant views are frequently painted like a flat board as if they were Kakiwari. It shows the outside that is imperceptible, deviating from the perspective of vision. The audience can wait for the outside without doing anything (“prefer not to do”) in front of Kakiwari. It is the potentiality of art and it realizes de-creation. This paper extends the concept of de-creation by presenting concrete images and methods used in the author’s own works that utilized Kakiwari. This orients to the philosophy of the creative act by the artist herself.
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Geiko, S. M., and O. D. Lauta. "Philosophcal review of h. white̕s tropological theory in the context of the new philosophy of history." Humanitarian studios: pedagogics, psychology, philosophy 3, no. 152 (December 2020): 92–99. http://dx.doi.org/10.31548/hspedagog2020.03.092.
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The article provides a philosophical analysis of the tropological theory of the history of H. White. The researcher claims that history is a specific kind of literature, and the historical works is the connection of a certain set of research and narrative operations. The first type of operation answers the question of why the event happened this way and not the other. The second operation is the social description, the narrative of events, the intellectual act of organizing the actual material. According to H. White, this is where the set of ideas and preferences of the researcher begin to work, mainly of a literary and historical nature. Explanations are the main mechanism that becomes the common thread of the narrative. The are implemented through using plot (romantic, satire, comic and tragic) and trope systems – the main stylistic forms of text organization (metaphor, metonymy, synecdoche, irony). The latter decisively influenced for result of the work historians. Historiographical style follows the tropological model, the selection of which is determined by the historian’s individual language practice. When the choice is made, the imagination is ready to create a narrative. Therefore, the historical understanding, according to H. White, can only be tropological. H. White proposes a new methodology for historical research. During the discourse, adequate speech is created to analyze historical phenomena, which the philosopher defines as prefigurative tropological movement. This is how history is revealed through the art of anthropology. Thus, H. White’s tropical history theory offers modern science f meaningful and metatheoretically significant. The structure of concepts on which the classification of historiographical styles can be based and the predictive function of philosophy regarding historical knowledge can be refined.
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Cummings, Connor. "The science of therapeutic images." History of the Human Sciences 30, no. 2 (April 2017): 69–87. http://dx.doi.org/10.1177/0952695116687226.
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The Netherne Hospital in Surrey is perhaps the most prestigious site in the history of British art therapy, associated with the key figures Edward Adamson and Eric Cunningham Dax, whose pioneering work involved the setting-up of a large studio for psychiatric patients to create expressive paintings. What is little-known, however, is the work of the designated scientist for psychiatric research, Hungarian Jewish émigré Francis Reitman, who was charged with an overall scientific analysis of the artistic products of the studio. Schooled in the biological psychiatric tradition of Ladislas J. Meduna in Budapest prior to his exile to the Maudsley Hospital in 1938 – and committed to treatments such as leucotomy and electro-convulsive therapy (ECT) – Reitman was an unusual candidate for research into the unconscious processes behind art and psychosis. Yet he authored two highly popular and widely reviewed books on his analyses of the abundant artistic output created by patients with schizophrenic diagnoses at the Netherne. In his Psychotic Art (1950) and Insanity, Art and Culture (1954), Reitman compared such schizophrenic images with those produced by artists under the influence of mescaline and examined the artistic output of patients having undergone leucotomy. This article draws on archival materials and Reitman’s original research publications in order to reconstruct his theory of schizophrenic art within the complex context of postwar British psychiatry, negotiating as he did between biologically reductive understandings of Freudian and Jungian psychoanalytic categories, and ultimately synthesizing concepts from both. It also analyses Reitman’s implicit theory of the therapeutic mechanism of art in the treatment of psychiatric patients.
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Botar, Oliver A. I. "László Moholy-Nagy's New Vision and the Aestheticization of Scientific Photography in Weimar Germany." Science in Context 17, no. 4 (December 2004): 525–56. http://dx.doi.org/10.1017/s0269889704000250.
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ArgumentI propose that both Moholy-Nagy's suggestions that products of applied, particularly scientific, photography be employed as exemplars for art photography, and his practice of integrating such applied photographs with art photographs in his publications and exhibitions, laid the groundwork for an aestheticization of scientific photography within the twentieth-century artistic avant-garde. This photographic “New Vision,” formulated in the 1920s, also effected a kind of “scientization” of art photography. Rather than Positivist mechanism, however, I argue that the science at play was “biocentrism,” the early twentieth-century worldview that can be described as Naturromantik updated by biologism. His key inspiration in this regard was one of the most important figures of biocentrism, the biologist and popular scientific writer Raoul Heinrich Francé, and his conception of Biotechnik [bionics], in which he proposed that all human technologies are based in natural technologies.The biological, pure and simple, taken as the guide.– Moholy-Nagy (1938, 198)
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Duan, Lian. "The Peircean order of signification and its encoding system in Chinese landscape painting." Semiotica 2018, no. 221 (March 26, 2018): 199–218. http://dx.doi.org/10.1515/sem-2015-0032.
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AbstractApplying Peirce’s semiotics to the study of art history, this essay explores the order of signification in the Peircean theory and the visual order in Chinese landscape painting. Since the purpose of Chinese landscape painting is not simply to represent the beauty of scenery but to encode and manifest the philosophy of Tao, then, the author argues that the establishment of the encoding mechanism in Chinese landscape painting signifies the origination, development, and establishment of this genre in Chinese art history. In this essay, the Peircean order of signification is described as a T-shaped structure, consisting of a horizontal dimension of signs (icon, index, and symbol) while and a vertical dimension of the signification process (representamen, interpretant, and object). Correspondingly, the visual order in Chinese landscape painting is also described as a T-shaped structure as well: the horizontal dimension at the formal level consists of three signs (mountain path, flowing water, and floating air, the three constitute a compound sign), while the vertical dimension at the ideological level consists of three concepts (the way in nature, the metaphysical Way of nature, and the Tao). The significance of this order is found in re-interpreting the formation of landscape painting in Chinese art history.
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Zolka, V. L. "LEGAL INSTITUTION FOR DEMOCRATIC CIVIL CONTROL OVER ACTIVITY OF SECURITY AND DEFENSE SECTOR OF UKRAINE: STATE-OF-THE-ART OF NORMATIVE LEGAL REGULATION." Analytical and Comparative Jurisprudence, no. 2 (July 6, 2021): 39–44. http://dx.doi.org/10.24144/2788-6018.2021.02.7.
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The article is dedicated to study the status of legal regulation of legal institution “Democratic civil control over activity of security and defense sector of Ukraine” and to substantiate the theoretical recommendation as regards improvement of military and security legislation.
It has been proved that uncontrollable military organizations and law enforcing bodies of the state bring potential danger both individuals and society’s humanistic values. They are dangerous because of unbalanced mechanism of the democratic civil control. Disruption of containment mechanism and counterbalance in the power separation system in the state, usurpation of power by one person or group of people can paralyze not only power itself but other institutions of society.
Subjects of state segments for democratic civil control turn to be the attendant bodies of political will by one person, the certain cover-up and justification of unlawful violation. Under those conditions the civil monitoring of institutions in the security and defense sector of Ukraine becomes inefficient. Their subjects experience limitations: such as access to information of law-enforcement authorities and military formations; implementation of freedom of expression.
Most of substantial reactions are left unattended by state jurisdiction and military administration. Their legal status also remains imperfect and deprived of real impact gears on the objects under control.
It has been proved that in order to ensure efficiency of openness and transparency in activity of Security and Defense Sector it is required to implement the complex of organizational and legal measures such as an active elucidative campaign for the purpose of bringing to essentiality, goal, form and tools of public control over SDS and to consolidate new philosophy where the civil control will take leading place.
The certain declaratory of the most mechanisms of civil control institution have been deduced herein. The means to improve situation in this field are proposed to be developed by participation of interested subjects both public administration, members of public monitoring and subsidiary objects of new special law. By its developing the negative and positive experience of civil control has to be taken into consideration. The other way to secure the effective mechanism of democratic civil control over SDS is to specify statutory norms for SDS in the law of Ukraine.
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Bumbaș, Aurel, and Sebastian Vaida. "The Concept of Death. From Socrates to Ellis." Studia Universitatis Babeș-Bolyai Psychologia-Paedagogia 65, no. 2 (December 10, 2020): 5–31. http://dx.doi.org/10.24193/subbpsyped.2020.2.01.
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"Death is a concept studied from ancient times by all major areas, from literature and art, to philosophy and psychology. In this research, we analyze the way Socrates, the famous Greek philosopher, negotiates the idea of death, through his own death. We approached this, because the ancient philosopher was put in this situation when he was sentenced to death, unjustly, following a democratic decision. His way of seeing death reveals a formula that does not match the expectation of his contemporaries, nor the classical typology of the imminence of his own death, belonging to psychiatrist Elizabeth Kübler-Ross. And the explanation of this non-coincidence is based on the philosophical idea of man and world and the specifics of his philosophical practice. It is precisely this philosophical conception and practice that will make Socrates’ attitude become repeatable and not unrepeatable, as one might expect, since this attitude appears so conditioned by specific elements. In fact, the rational research on the grounds of beliefs and personal knowledge that stands at the basis of his philosophical practice, is deeply rooted in the foundations of Rational Emotive Behavior Therapy (REBT). Therefore, what lays at the basis of Socrates’ view on death goes far beyond the ancient cultural framework. To fill in the phenomenal dimension with the one of organic layer, the analysis will also include an interpretation of Socrates’ behavior, from the dopamine mechanism approach. Keywords: death, Socrates, method, concept, analysis, beliefs. "
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Pefanis, George P. "Is the ‘Animal-Event’ Possible? Animal Precariousness and Moral Indeterminacy in Performance." New Theatre Quarterly 34, no. 2 (April 19, 2018): 176–85. http://dx.doi.org/10.1017/s0266464x18000076.
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In this article, George P. Pefanis discusses two major aspects of the ‘event’, as formed and developed in late Derridean philosophy – namely, the ‘possibility of the impossible’ and the ‘experience of perhaps’. These aspects are examined in order to reveal the potential for precariousness and uncertainty engendered by performance art, as in the case of the animal-event. With its increased degree of indeterminacy and its projected singular, here-and-now character, performance art could leave open the way to the ‘other’, the unpredictable, and the unexpected that is the ‘animal-event’, since an animal can never be fully controlled or have its behaviour predicted by the theatre mechanism. Two performances are taken as case studies to demonstrate this: the emblematic I Like America and America Likes Me by Joseph Beuys (René Block Gallery, New York, 1974), and Dragon Heads by Marina Abramović (Museum of Modern Art, Oxford, 1990). It is argued that both cases pose certain moral issues around the presence of animals on the stage. George P. Pefanis is Associate Professor in the Department of Theatre Studies at the National and Kapodistreian University of Athens, and also teaches theatre and cinema history at the Open University of Greece and Cyprus. His publications include Adventures of Representation: Scenes of Theory II, Spectres of Theatre: Scenes of Theory III (both 2013) and Theatre Adherents and Philosophers (Athens, 2016). In 2006, he received the award for best book in the study of theatre for The Kingdom of Eugena (2005).
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Grodecka, Aneta. "Aposiopesis albo figury myśli w dobie ucieleśnionego umysłu." Poznańskie Studia Polonistyczne. Seria Literacka, no. 34 (January 11, 2019): 87–105. http://dx.doi.org/10.14746/pspsl.2018.34.4.
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The Author is interested in the states of becoming silent, discontinuing one’s utterance, which are associated with certain mechanisms of the functioning of the brain, as well as in the observation of such states in different artistic disciplines. Looking for an answer to the question how aposiopesis operates in words, sounds, and images, she analyzes pieces of music, poems (Zbigniew Herbert’s Pora), and examples of visual arts (Wojciech Pakmur’s paintings of the tango). In her reconstruction of the research field, the Author refers to rhetoric ( Jerzy Ziomek, Seweryna Wysłouch), the philosophy of language (Michel Foucault, Jean-François Lyotard), and neurophenomenology. The aim of the article is to suggest a new mode of reading that seeks inspiration and language in works from the field of neuropsychology (Maria Pąchalska), hermeneutic phenomenology (Mark Johnson), or neurology (António Damásio, Oliver Sacks). The Author’s analyses refer to Raoul Schrott and Arthur Jacobs’s concept (Gehirn und Gedicht, 2011), and the conclusions confirm that one should not look for a model (pattern) in the reception of art, but describe mental processes. The proposed mechanism of interpretation is most accurately reflected by the metaphor of dance improvisation, where one does not meditate on and then perform particular steps and gestures, but “thinks in motion.” This mode of reading emphasizes the spatial dimension of thought processes and their dynamic nature.
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Popek, Katarzyna. "Dialectics of the Genius." Idea. Studia nad strukturą i rozwojem pojęć filozoficznych 30, no. 2 (2018): 115–36. http://dx.doi.org/10.15290/idea.2018.30.2.09.
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A man tirelessly looks for answers to numerous questions about deep ontological problems concerning the meaning of life, fundamental reasons or the last things. The aim of the article is to build a theoretical base, on the basis of which one will have opportunity to ask yet further questions, which are relevant in relation to human existence especially for philosophers. The genius requires a huge commitment to get to it. It also involves an internal declaration of continuous self-improvement. Contrary to the philosophers of the era of modernism, I believe that to a greater or lesser extent, every person can potentially be genuine and great. After all in the mechanism and in the specific rhythm of tape improvement of the product as well as in the fiery ideas contemplated by the people of philosophy and art we can find passion for life and creativity People as such do not live in strictly defined internal boundaries and therefore they can constantly develop. If a wider group of philosophers can be interested in the concept of philosophy which is open to current human problems, interested primarily in other people (also in the sense of their huge diversity), then the goal of this essay will eventually be achieved. From the perspective of the possibility of a sense of job satisfaction it does not matter whether someone cooks well or paints beautifully. Everybody can equally develop in the essential sense of self-improvement. The scientific aspirations of the approach to this philosophical problem are fortunately unable to hide the values of human work in general, and especially the work done on oneself, overcoming one's own prejudices and going beyond the previously established conventions. It is only the acquisition of the ability to play freely with what is given to an existence that gives a man the chance to free himself from the shackles of restrictions existing on many levels of culture, religion or art.
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Clericuzio, Antonio. "“Sooty Empiricks” and Natural Philosophers: The Status of Chemistry in the Seventeenth Century." Science in Context 23, no. 3 (July 30, 2010): 329–50. http://dx.doi.org/10.1017/s0269889710000104.
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ArgumentThis article argues that during the seventeenth century chemistry achieved intellectual and institutional recognition, starting its transition from a practical art – subordinated to medicine – into an independent discipline. This process was by no means a smooth one, as it took place amidst polemics and conflicts lasting more than a century. It began when Andreas Libavius endeavored to turn chemistry into a teaching discipline, imposing method and order. Chemistry underwent harsh criticism from Descartes and the Cartesians, who reduced natural phenomena to the mechanical affections of matter, leaving little room for chemistry as an independent discipline. Boyle rejected the chemical principles and promoted the fusion of chemistry with corpuscularianism. He did not reduce chemical phenomena to the mechanical affections of matter, but strived to promote chemistry as part of natural philosophy. Lemery gave strong impulse to the recognition of chemistry as a discipline in its own right by fostering a compromise of chemistry and mechanism. Lemery adopted the chemical principles, but did not see them as the ultimate ingredients of bodies. In order to promote chemistry, he distanced it from alchemy and pursued the reform of chemical terminology.
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Li, Buyu, Yu Liu, and Xiaogang Wang. "Gradient Harmonized Single-Stage Detector." Proceedings of the AAAI Conference on Artificial Intelligence 33 (July 17, 2019): 8577–84. http://dx.doi.org/10.1609/aaai.v33i01.33018577.
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Despite the great success of two-stage detectors, single-stage detector is still a more elegant and efficient way, yet suffers from the two well-known disharmonies during training, i.e. the huge difference in quantity between positive and negative examples as well as between easy and hard examples. In this work, we first point out that the essential effect of the two disharmonies can be summarized in term of the gradient. Further, we propose a novel gradient harmonizing mechanism (GHM) to be a hedging for the disharmonies. The philosophy behind GHM can be easily embedded into both classification loss function like cross-entropy (CE) and regression loss function like smooth-L1 (SL1) loss. To this end, two novel loss functions called GHM-C and GHM-R are designed to balancing the gradient flow for anchor classification and bounding box refinement, respectively. Ablation study on MS COCO demonstrates that without laborious hyper-parameter tuning, both GHM-C and GHM-R can bring substantial improvement for single-stage detector. Without any whistles and bells, the proposed model achieves 41.6 mAP on COCO testdev set which surpass the state-of-the-art method, Focal Loss (FL) + SL1, by 0.8. The code1 is released to facilitate future research.
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Putcha, Rumya S. "Yoga and White Public Space." Religions 11, no. 12 (December 14, 2020): 669. http://dx.doi.org/10.3390/rel11120669.
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This article connects recent work in critical race studies, museum studies, and performance studies to larger conversations happening across the humanities and social sciences on the role of performance in white public spaces. Specifically, I examine the recent trend of museums such as the Natural History Museum of London, the Metropolitan Museum of Art in New York, and the Museum of Fine Arts in Boston, to name but a few, offering meditation and wellness classes that purport to “mirror the aesthetics or philosophy of their collections.” Through critical ethnography and discursive analysis I examine and unpack this logic, exposing the role of cultural materialism and the residue of European imperialism in the affective economy of the museum. I not only analyze the use of sound and bodily practices packaged as “yoga” but also interrogate how “yoga” cultivates a sense of space and place for museum-goers. I argue that museum yoga programs exhibit a form of somatic orientalism, a sensory mechanism which traces its roots to U.S. American cultural-capitalist formations and other institutionalized forms of racism. By locating yoga in museums within broader and longer processes of racialization I offer a critical race and feminist lens to view these sorts of performances.
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Budanov, Vladimir Grigoryevich, and Tamara Andreevna Sinitcyna. "Quantum-synergetic ontology of generalized corporeality: from anthropology of theatre to humanization of artificial intelligence. The question of boundaries." Культура и искусство, no. 7 (July 2020): 13–28. http://dx.doi.org/10.7256/2454-0625.2020.7.33362.
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The question of understanding of corporeality in philosophy, science, medicine and culture goes back centuries and remains relevant until the present. This relates mostly to anthropological challenges of the crisis technogenic civilization that is trying to improve human nature, without understanding of its holism, taking into account existential issues of hybrid man-machine systems and socies, virtual and cyber-physical umvelts, within which corporeality becomes more of an atavism and a deterrent for the rapid worlds managed by the powerful artificial intelligence. In philosophy of the XX century, the understanding of generalized corporeality is associated primarily with the phenomenological project of E. Husserl and its advancement in the works of M. Merleau-Ponty, French poststructuralists A. Artaud, G. Deleuze, F. Guattari, who conceptualizes the idea of generalized corporeality in cultural terms, rather than in natural science. The author proposes the introduction of the ontologies of generalized corporeality based on differentiation of its functional manifestations in communication and theatrical art, referring to the modern representations on the mechanism and their potential implementation on the level of physiology and mental sphere of personality, as well as on the level of substantial factors of biology, psychophysics and robotics. For these purposes, the author attracts the concepts of synergetics and quantum theory as the grounds for such functional ontologies; at the same time, full ontology of generalized corporeality is presented by direct product of the ontologies of states and temporal ontologies of physical and mental processes of a human, which allows creating a semiotics of corporeality of acting or anthropomorphic avatar-robot. The article explores the boundaries of emulation of human corporeality by the modern means of IT technologies, and the question of unattainability of many creative and spiritual sub-bodies of a person using technical means.
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Isidori, Emanuele, and Rafael Ramos Echazarreta. "Sport and Philosophy of Hospitality: Three Questions on How to Rethink Contemporary Sport Education in Light of Gift and Peace." Physical Culture and Sport. Studies and Research 59, no. 1 (October 1, 2013): 5–10. http://dx.doi.org/10.2478/pcssr-2013-0017.
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Abstract The ancient Olympic Games were held in spaces and places consecrated for hospitality, to xénia, a Greek word that means “gifts” but also something that refers to and belongs to strangers and foreigners. Foreigners from every part of Greece met in Olympia to celebrate the agón. In this place, a stranger or a foreigner (hostis in Latin), probably a former enemy, became a friend because he was both guest and host (hospes in Latin) in the sanctuary-town, which belonged to the gods and to all of the Greeks, who recognized themselves in its spirit. This mechanism of hospitality formed the basis of the Olympic peace system and was the fundamental prerequisite for the celebration of agón. The practice of the agón was therefore made possible by a “gift” but also by “for-giveness” that allowed people to meet and compete. We can conclude that at the base of the Olympic (and Greek) ethics there was the concept of hospitality. Olympia was then the common home of all Greeks, the place where ethics were carried out, were put into practice, and concretely exercised. It is not a pure coincidence that the Greek word “ethics” is linked to the word éthos, which means “house”, “home”. For this reason, ethics can be thought as the art of hosting somebody in our own home and trusting him/her, just as it happened in ancient Olympia during the Olympic Games, which demonstrated that ethics was always a home’s ethics. Therefore, taking into account this cultural and philosophical framework, this study will develop a methodological approach, derived from deconstructionism, which will be applied to concepts that are both ambiguous and semantically rich in meaning, such as “gift”, “forgiveness”, xénos, hostis, and hospes. The first objective of this study is to reflect upon the connection between “gift” and “sport” and show the deep interconnection between the two concepts. The second is to use the model of Greek hospitality at the Olympic Games to deeply rethink sport and contemporary philosophy of sport education in terms of peace and multiculturalism.
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Andreeva, Irina V. "“To Recognize and Read Something as a Document...”: (The Transfer of Things in Research Reflections by G.L. Dain)." Observatory of Culture 17, no. 4 (September 8, 2020): 414–25. http://dx.doi.org/10.25281/2072-3156-2020-17-4-414-425.
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This article examines the cultural aspects of museum documentation as a process of identifying items to be preserved and actualized as historical documents. In the system of concepts of museum technology, it is designated as a selection process, from the point of view of museum philosophy — as implementation of the specific/museum’s attitude to reality. In the categories of cultural studies, the documentation can be considered as a subject-contextual transfer of things. This case’s formation can be now traced in the articles by J. Dolák, A.N. Balash, A.A. Nikonova, E.V. Abroskina.Basing on the analysis of published materials of the art historian G.L. Dain’s expedition diaries, the article considers the path of a thing to a museum. In addition to institutional factors, the range of her research setting includes the scientific credo of a scientist with a pronounced cultural discourse. This is “the study of toys in living connections with folk life and art, as part of the entire complex of children’s culture”, the knowledge of “the spiritual side of the mechanism of succession in folk culture”. On its basis, a corpus of individual field work methods is formed, relevant to the logic of the modern interpretive turn in the cultural sciences. Their initial message is the perception of a thing as a textual model of national culture, the setting on its multi-layer readability based on the idea of culture as a text. The article considers the subject-contextual transfer of things on the examples of acquiring the items of Bashkir, Chukchi, Eskimo and Buryat traditional cultures for museum collections. Special attention is paid to recreating things from memory by the bearers of the tradition. As a result, a conclusion is made about the five-component structure of the museum documentation process, which includes: cultural metareality — thing — document — object of museum value — museum object. The logic of transformations of things is concretized by the scheme of systematic cultural analysis: document — text — context — discourse — interpretation.
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Fedotova, Larisa N. "The Visualization as a Way of Involvement in TV Commercials." Journal of Flm Arts and Film Studies 8, no. 3 (September 15, 2016): 142–51. http://dx.doi.org/10.17816/vgik83142-151.
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The problem of visualization characteristic of TV and street advertising, is utterly relevant, as the follow-up of cultural and artistic origins of any new information technology helps to present potential of the creative perception of social reality historically engendering both forms of art and their artistic palette. Visualization of goods, that is demonstration them to its customers is the first phase of the exchange, and it is only foreshadowed advertising. When production becomes ponderous, information about goods should become regular, inclusive, and possibly aggressive. A wide-scale consumer boasts of increase of the number of social needs. In the course of time exhortations system has complicated to a larger extent, and their form become more diverse. Nowadays exhortation exists as a potential conclusion after reading the text. The advertising message may consist of a simple statement of some information about the offer: but it may also show. Demonstration can promote a positive attitude to the product. The heyday of this practice we can see on TV. Due to power of its pictorial capacities it shows the world in all its beauty. It just shows the power of using the product demonstration process. And most importantly - since the image might be hiding, or it reflects the pattern of life, - even a whole philosophy of life. This is the model of any symbolization - from details to the total, from the individual to the whole universe. TV used this mechanism in such mode of advertising as the celebrities marketing. The figure of the hero is symbolic, consumption becomes synonymous with success, achievement. Sometimes visualization of ideas have problems with limits symbolization (the example of the TVC Daisy). This problem becomes more urgent nowadays because the marketing communications based on unfounded statements do not work anymore. The strength of the latter particularly manifested itself under the crisis.
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OYEWALE, Kayode, Ayodeji ILESANMI, and kehinde ALLIU. "MANAGING STRESS IN A RECESSED ECONOMY: IMPLICATIONS FOR BANK EMPLOYEES." LASU Journal of Employment Relations & Human Resource Management 2, no. 1 (December 1, 2020): 202–15. http://dx.doi.org/10.36108/ljerhrm/0202.02.0141.
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This study examines the notion of stress management in a recessed Nigerian economy with the implications for bank employees. In the process, it further considers the stiff competition in the banking sector coupled with the current sharp decline in the global price of crude oil with its attendant implications for the performance of the Nigerian economic growth which has a spillover effect on indwelt elements like stress factor facing the banking employee. Based on this foundational philosophy, 300 structured questionnaires were administered of which 218 were found usable and on which an in-depth analysis was conducted via the use of Statistical Package for Social Sciences’ (SPSS) data analysis; whilst Correlation and Regression analyses were applied to test the formulated hypotheses. The finding of the research effort affirms that stress issue in the workplace is of a growing concern particularly in the banking sub-sector. This development portends a detriment to the health and psychic of bank employees – and thus poses a great threat to work place performance. Further findings from the study; reveal amongst others; the potential stress-propelled debacle facing the bank employees in different dimensions. These include work overload, low level of job satisfaction (in spite of measurable remunerations and lack of autonomy–including job insecurity. The study recommends amongst others; that effective management of bank staffers require developing action plans by bank management that would entail monitoring, re-assessing (via feed-back mechanism) the dynamics of the internal workplace and the turbulent external environment. It concludes on the note that, where the optimum of an average bank employee is sought, the work environment should embrace his participation in decision making process at appropriate level of the affected organization. This is largely achievable through his engagement in state of the art training programs amongst other incentives.
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Tkachuk, Olena. "MULTICULTURALISM BY CONRAD-EMIGRANT." Polish Studies of Kyiv, no. 35 (2019): 376–80. http://dx.doi.org/10.17721/psk.2019.35.376-380.
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The article is devoted to the problem of the multiculturalism by Joseph Conrad, the English writer and the world classic of the 20th century, who, due to the preservation of his Polish national-cultural identity, and by estrangement from this identity in his artistic consciousness, was able to influence the intellectual and artistic atmosphere in England of his times. In this way, the Polish identity became a background for Conrad’s artistic creativity, and at the same time, universal values and criteria were the key to the successful acculturation in English society in its one of the most effective strategies – the integration strategy. In this case Conrad acquired another national-cultural identity, English, – while retaining his native, Polish. Undoubtedly, one of the most important issues touched by almost all researchers is his arrival in English literature, a Pole in origin, who only arrived in England in the twenty-first year, actually emigrating, and for a very short time becaming a venerable writer. It should be noted that, taking into account the peculiarities of English mentality, the task was rather uneasy. All this undoubtedly led to the development of a variety of approaches to understanding the creative personality and rich heritage of Joseph Conrad. Foreign literary and critical academic circles, which introduced the concept of «new English literature» (meaning the post-colonial period), do not take into account such figures of the English literary process as Joseph Conrad, whose work falls out of its chronological framework, and indicates that multicultural literature appeared on the approaches to the twentieth century. However, only nowadays it was possible that such an approach was based on the principles of multiculturalism, that is, the phenomenon justified in the 90s of the XX century, although, as the majority of scholars testify, it existed for a long time in cultural studies, literary criticism, art history and philosophy. We have chosen this approach. The research is devoted to the study of the problems of national-cultural identity by Joseph Conrad, as well as the mechanism of his acculturation in the conditions of emigration.
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Qurban, Masuda Aalim Jalan. "Renewing Art Education Philosophy in Light of Twenty-First Century Skills." Asian Social Science 15, no. 3 (February 28, 2019): 107. http://dx.doi.org/10.5539/ass.v15n3p107.
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The problem of renewing the philosophy of teaching art education in the light of 21st century skills. Art education at the global level is facing many and many challenges as a result of the tremendous changes in the way knowledge and information are exchanged, in which technology plays a large role because of the necessity of its existence at various scientific levels. These challenges required a comprehensive review of the educational system and philosophy in general And in particular technical education, which in turn lead to the development of advanced courses and innovative work to prepare a learner is able to absorb better, in addition to it makes the educational process an interesting process for the learner and by integrating those courses study With 21st century skills and information technology, which in turn improves the outcomes of the learning process and the quality of education.
Research problem: The researcher found through the study of international and international research of the 21st century skills and information technology to be applied in the curricula of different fields, because it is important for the students as it earns and trains them on life and work skills to bring out a person who is more capable of dealing smartly in life and linking them to the curriculum. As well as their application to the labor market.
Therefore, the problem of this research lies in the following question: To what extent is it possible to implement a program based on the integration of information technology and art education curricula in the light of 21st century skills to bring out a learner capable of keeping pace with the labor market?
Research goals: The research aims to:
- Prepare a student capable of keeping pace with the labor market through the application of the skills of the 21st century by international standards in the curricula of art education.
- to highlight the skills of the twenty-first century of high value that contribute to the output of a learner capable of achieving professional success in the labor market.
Research importance:
- keep up with information technology through integration with the curriculum of art education
- Use the skills of the twenty-first century in teaching the curriculum of art education
- Stimulate educational institutions to apply the skills of the twenty-first century and mechanisms to achieve the vision of the Kingdom 2030 in the field of education.
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Misyurov, N. N. "Book in the literary discourse of the German Enlightenment." Bibliosphere, no. 4 (December 30, 2018): 27–31. http://dx.doi.org/10.20913/1815-3186-2018-4-27-31.
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The books’ role in the German Enlightenment discourse explores the intersection of different but complementary disciplines: bibliology, philosophy of culture and «text linguistics», as well as the history of literature that expands the possibilities of studying cultural and public communication. A text (magazine, book) is interpreted as a mechanism that controls the process of learning and understanding. To illustrate the study theoretical foundations, the author considers the historical practice of the literary era in Germany in 1770-1790. The struggle of «cilturtregers» to renew German culture moved from the political sphere to journalism and literature. The author concludes that the book (both scientific and artistic) and reading became a factor of social communication. The struggle for the renewal of German culture, its national identity preservation due to a number of historical reasons hindering the development of the country moved from the political sphere to the journalism and literature field. It was closely connected with the whole complex of the European Enlightenment ideas. The book - both scientific (philosophical work, art treatise) and artistic one (literary and journalistic composition, dramatic creation, etc.) became an indispensable tool of the nation aesthetic education. In such circumstances, a book obtains the significance of not only the «source of knowledge» but a kind of «catechism» to struggle for national culture. Thus, considering a book text as a phenomenon of the German culture of the Enlightenment century with ideological and aesthetic significance, it should be especially notes that such a «text» (a book of scientific, philosophical, moralistic or artistic content) is addressed both to a specific reader, a representative of some class, and to a «collective reader». The German novel (it is the genre of «trivial» literature that is considered directly) is a product of the era. The dialogue «author - reader» (or a complicated triad «author - publisher - reader») was the basis of the nation estetic education. Reading became a fact (and a factor) of social communication. The German book has been transformed from an expensive and exclusive «source of knowledge» targeted for scientists, connoisseurs of «beauty» to a catechism (available for the ordinary reader) of the national struggle to preserve the German culture self-existence and to acquaint the nation to the treasures of the world classical «ancient» and modern literature.
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Feng, Zongren. "Picture of the World in the Artist’s Work." Humanitarian Vector 15, no. 5 (October 2020): 79–84. http://dx.doi.org/10.21209/1996-7853-2020-15-5-79-84.
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Recently, scientists from different fields of scientific knowledge have actively turned to the analysis of social development within the framework of the picture of the world as its specific construct, the mechanism of interaction between man and society. The theoretical foundations of the research of modern scientists in the field of research are the work of the classics of philosophy, sociology, natural sciences, etc. V. von Humboldt created the concept of a picture of the world, based on the introduction of such concepts as “internal form” and “spirit of the people”.There is no universally accepted definition of the concept of “picture of the world” in science, which is explained by the dynamism of modern reality, the polysemy of the concept itself, and its inconsistency. The picture of the world is understood as a generalized image of the surrounding reality, created in the process of human perception of the world and existing in the form of scientific knowledge, concepts, laws, and everyday consciousness. The picture of the world is an objective world of two, an epistemological construct. The article assesses various approaches to the study of the picture of the world in modern scientific knowledge: philosophical, sociological, natural – scientific, etc. The levels of the picture of the world are distinguished: scientific and ordinary, their features are described. The analysis of the concept “picture of the world” in the works of modern scientists is the theoretical and methodological basis for the study of the picture of the world in art, which has its specificity and reflects the world in the minds of the creator. Creating a picture of the world in artistic creativity represents an understanding of the world around us in individual consciousness. The concept of “a picture of the world in the artist’s work” is revealed by the example of an analysis of the works of a Chinese painter Hai Zhi Han, a member of the Union of Chinese artists, a teacher at the Inner Mongolia Pedagogical University. Keywords: picture of the world, creator, picture of the world in the artist’s work, anti-rationality, expressionism
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Gosling, P. D., and B. N. Bridgens. "Material Testing & Computational Mechanics — A New Philosophy for Architectural Fabrics." International Journal of Space Structures 23, no. 4 (November 2008): 215–32. http://dx.doi.org/10.1260/026635108786959870.
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This paper proposes a new perspective on the analysis of fabric structures – the concept that material testing and computational mechanics are mutually dependent and, by implication, not to be considered as independent. Current representations of fabric stress-strain behaviour are based on plane-stress assumptions, and tend to simplify the available data (e.g. use of secant elastic moduli). Young's moduli and Poisson's ratios were determined for each test so as to provide the best fit plane to the scattered data points. These planar representations provided limited correlation with test data. The elastic constants do not comply with plane stress theory since coated woven fabrics are not homogeneous materials: They are composites with the interaction of orthogonal yarns making them act as a constrained mechanism. A new approach to incorporating fabric test data in structural analysis is proposed here: Use of direct correlation between pairs of stresses and strains. This avoids the inherent approximation in defining elastic constants or other parameters to quantify the fabric behaviour. A simple triangular interpolation scheme is recommended which is robust and avoids the risk of unreliable interpolation and extrapolation when using a functional representation of the data.
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Lefèvre, Wolfgang. "Galileo Engineer: Art and Modern Science." Science in Context 13, no. 3-4 (2000): 281–97. http://dx.doi.org/10.1017/s0269889700003847.
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The ArgumentIn spite of Koyré's conclusions, there are sufficient reasons to claim that Galileo, and with him the beginnings of classical mechanics in early modern times, was closely related to practical mechanics. It is, however, not completely clear how, and to what extent, practitioners and engineers could have had a part in shaping the modern sciences. By comparing the beginnings of modern dynamics with the beginnings of statics in Antiquity, and in particular with Archimedes — whose rediscovery in the sixteenth century was of great consequence — I will focus on the question of which devices played a comparable role in dynamics to that of the lever and balance in statics. I will also examine where these devices came from. In this way, I will show that the entire world of mechanics of that time — “high” and “low,” practical and theoretical — was of significance for shaping classical mechanics and that a specific relationship between art and science was and is constitutive for modern sciences.
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lefèvre, wolfgang. "galileo engineer: art and modern science." Science in Context 14, s1 (June 2001): 11–27. http://dx.doi.org/10.1017/s026988970100031x.
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in spite of koyré's conclusions, there are sufficient reasons to claim that galileo, and with him the beginnings of classical mechanics in early modern times, was closely related to practical mechanics. it is, however, not completely clear how, and to what extent, practitioners and engineers could have had a part in shaping the modern sciences. by comparing the beginnings of modern dynamics with the beginnings of statics in antiquity, and in particular with archimedes — whose rediscovery in the sixteenth century was of great consequence — i will focus on the question of which devices played a comparable role in dynamics to that of the lever and balance in statics. i will also examine where these devices came from. in this way, i will show that the entire world of mechanics of that time — “high” and “low,” practical and theoretical — was of significance for shaping classical mechanics and that a specific relationship between art and science was and is constitutive for modern sciences.
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Cook, Margaret G. "Divine Artifice and Natural Mechanism: Robert Boyle's Mechanical Philosophy of Nature." Osiris 16 (January 2001): 133–50. http://dx.doi.org/10.1086/649342.
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Veneroso, André F. V., Patrick W. Segundo, and Daniela Godoi. "Underlying physiological and biomechanical mechanisms related to postural control of Parkour practitioners: a pilot study." Brazilian Journal of Motor Behavior 15, no. 2 (June 1, 2021): 65–78. http://dx.doi.org/10.20338/bjmb.v15i2.207.
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BACKGROUND: Parkour can be seen as a sport, an art, a philosophy, a state of mind, an art of living. Practitioners (known as “tracers”) have to overcome obstacles in their path by adapting their movements to the given environment to reach somewhere or something or to escape from someone or something. However, the knowledge about the underlying mechanisms related to postural control in tracers is still lacking. AIM: To examine the postural control in tracers using global, structural, and spectral stabilometric descriptors. METHOD: Five tracers and five controls, all-male, stood upright for 30 seconds, under different conditions of vision (open or closed eyes), surface (soft or rigid), and base of support (bipedal, semi-tandem, or Parkour stance). RESULTS: In more challenging conditions, the tracers compared to controls, showed a lower amount of sway, needed less postural commands, and used sensory information to control balance differently. CONCLUSION: Tracers have better postural control than controls. Moreover, although current findings are based on data from a small number of subjects, the results suggest that these differences between groups are related to different underlying physiological and biomechanical mechanisms related to postural control.
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Myers, Natasha. "Animating Mechanism." Science & Technology Studies 19, no. 2 (January 1, 2006): 6–30. http://dx.doi.org/10.23987/sts.55192.
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In the scientific literature, proteins are frequently figured as molecular machines; that is, as tiny mechanisms that operate in interlocking assemblages, and which act to build and maintain the body as a higher-order machine. Mechanical models parse living bodies in ways that seem, at first glance, to deaden lively processes. I build on feminist contributions to the science studies literature to show how, rather than spelling the “death of nature”, mechanistic reasoning in the life sciences can become a site for feminist inquiry into modes of embodiment and the role of affect in the performance of scientific knowledge. I observe that researchers use their bodies kinaesthetically to manipulate and learn protein structures. Such forms of body-work enable modellers to animate their molecular mechanisms both onscreen and through elaborate gestures and affects. In this way molecular mechanisms are enlivened as they are propagated between researchers in pedagogical and professional contexts. I argue that this is not an extra-scientific phenomenon, but one intrinsic to the work of mechanistic modelling.
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Farrell, Helen. "Re-reading Merleau-Ponty through the language of drawing." Drawing: Research, Theory, Practice 6, no. 1 (April 1, 2021): 33–48. http://dx.doi.org/10.1386/drtp_00049_1.
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In order to present visual art as a paradigm for philosophy, Maurice Merleau-Ponty investigated the creative processes of artists whose work corresponded closely with his philosophical ideas. His essays on art are widely valued for emphasizing process over product, and for challenging the primacy of the written word in all spheres of human expression. While it is clear that he initially favoured painting, in his late work Merleau-Ponty began to develop a much deeper understanding of the complexities of how art is made in parallel with his advancement of a new ontology. In this article I focus on the materiality of Merleau-Ponty’s work in progress through an examination of his unfinished manuscript and working notes in the Bibliothèque national de France (BnF) in Paris. Through a reflection on the potential of these archive documents to reveal new insights into his working processes, I establish a connection to Merleau-Ponty’s own embodied thought mechanisms to uncover comparative methods of enquiry to those used in drawing practice.
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Damisch, Hubert. "Staking the Subject: The Self's Own Gamble with Art." October 167 (February 2019): 149–70. http://dx.doi.org/10.1162/octo_a_00340.
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Devoted to the Freud-Signorelli case, this study by French art-historian/philosopher Hubert Damisch offers an in-depth analysis of “the implication of the subject in the various dimensions of perception, remembering, analysis, and interpretation.” To better reflect the complex relationships between art, psychoanalysis, and interpretation, Damisch's commentaries take the form of a diary. By discussing his comings and goings between the 1960s and 1990s and by making an effort to remember his own life and practice, Damisch builds a dispositif where Freud's analyses of the mechanisms of oblivion, Signorelli's painting of “the damned,” Dante's Inferno, and Primo Levi's testimony on the Shoah reverberate with each other. This study, which is one of the chapters of the unfinished book La machine d'Orvieto, was first published in French in Y voir mieux, y regarder de plus près (Rue d'Ulm, 2010).
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Bhattacharya, Katyaynidas. "Contemporary Trends in the Philosophy of Life." Journal of Indian Philosophy and Religion 25 (2020): 113–23. http://dx.doi.org/10.5840/jipr2020256.
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An issue in philosophy of life is what in nature can and what cannot be explained by physics and chemistry. The mechanical theory is the same as the physico-chemical theory and the mechanical explanation of biological phenomena amounts to the recognition of such phenomena as falling under the laws of physics and chemistry. Hobhouse points out that a living body acts in some respects as a mechanism while in other respects it appears to act differently. But where does the difference lie? One difference seems to be that a living organism, when out of order, struggles back to order and normal functioning in a structured way that a machine appears to be incapable of. Haldane asserts that a living organism can grow from within and give rise to another system of the same sort out of a tiny special itself as it happens in reproduction and that such reproduction belongs to a class qualitatively different from that of mechanical operation. The qualitative difference between life and matter is also supported in Alexander’s doctrine of emergent evolution.
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Jebeile, Julie. "The Kac Ring or the Art of Making Idealisations." Foundations of Physics 50, no. 10 (September 7, 2020): 1152–70. http://dx.doi.org/10.1007/s10701-020-00373-1.
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Abstract In 1959, mathematician Mark Kac introduced a model, called the Kac ring, in order to elucidate the classical solution of Boltzmann to the problem of macroscopic irreversibility. However, the model is far from being a realistic representation of something. How can it be of any help here? In philosophy of science, it is often argued that models can provide explanations of the phenomenon they are said to approximate, in virtue of the truth they contain, and in spite of the idealisations they are made of. On this view, idealisations are not supposed to contribute to any explaining, and should not affect the global representational function of the model. But the Kac ring is a toy model that is only made of idealisations, and is still used trustworthily to understand the treatment of irreversible phenomena in statistical mechanics. In the paper, my aim is to argue that each idealisation ingeniously designed by the mathematician maintains the representational function of the Kac ring with the general properties of macroscopic irreversibility under scrutiny. Such an active role of idealisations in the representing has so far been overlooked and reflects the art of modelling.
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Brooks, J., and AG Pusey. "Osteopathy and its application in the treatment of musculoskeletal dysfunction in horses." BSAP Occasional Publication 35 (2006): 85–93. http://dx.doi.org/10.1017/s0263967x00042592.
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Physical treatments have been found to be effective in treating musculoskeletal problems in the human field (UK BEAM trial, 2004). Osteopathy is one such beneficial treatment, (Williams, Wilkinson, Russell , Edwards, Linck, Hibbs, 2003) which has been applied to musculoskeletal dysfunction in horses. (Colles, Pusey, 2003).Osteopathy as a medical philosophy was developed in the 1880s by Andrew Taylor Still, a doctor from the American mid–west. Dr Still was disillusioned with medical practice at that time when treatments such as bleeding, purgatives and emetics were common practice. Instead, his anatomical studies led him to envisage a system of the healing art, which placed chief emphasis on the structural integrity of the body as being most important in the well being of the organism. In other words, if the structure is normal, then the body can function at optimum levels (Still, 1902). This still forms the basis of the osteopathic philosophy, though the ground breaking new discoveries over the succeeding 125 years have brought a deeper understanding of the mechanisms underpinning this form of treatment (Kuchera, Kuchera, 1992).
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Yana, Tcyrlina. "Ontological Machinery of the Artistic Process: the Becoming-Technical and Art." Technologos, no. 4 (2020): 88–98. http://dx.doi.org/10.15593/perm.kipf/2020.4.08.
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This article pursues dual purpose. On the one hand, the author analyzes the general and the most important in the technical being since only therewith it is possible to conceptualize the sphere of technical objects and to determine the place of technics with respect to the art. So the article is devoted to new ontological opportunity of the technics’ entity perception by its connection with art. This relationship we consider in the context of “technological revolution” in the art. Moreover, it has been tried to be revealed possible mechanisms of technics emancipation with the help of the art and to be shown that technology can emancipate the art using both artistic techniques and inartistic technological processes. On the other hand, the aim of our article is to provide with a presentation of some onto technological key ideas, along with some conceptual approaches (for example, Levis Brуant’s onto-cartography) which we can distinguish by their further connection with the modern art. Conception of ontology in the terms of technics by all means has become the urgent task for philosophy, and one of the ways to solve this task is to investigate the relationship between ontology and technics. The author of the article argues that the confrontation between nature and technology is an illusion. We tried to complete this argument combining the ontology of nature and of technology in one concept – the concept of machine. Recently most works of art have become technological objects revealing the problem of “technical” art. In the article it is proposed the analysis of some modern works of art and is demonstrated that “the nature” and technics cannot be no more opposed and differentiated since one gives birth to another. Moreover, it is existed only techno-nature and its production (in the difference of repetition and creation) is the final question of techno-art.
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Rozin, Vadim Markovich. "Sequence of discussion on the “Psychology of Art” by L. S. Vygotsky (analysis and Interpretation of literary works)." Культура и искусство, no. 7 (July 2021): 81–92. http://dx.doi.org/10.7256/2454-0625.2021.7.36093.
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This article reviews the polemic of the author with a number of well-known psychologists who consider L. S. Vygotsky a humanities scholar, and that the book “Psychology of Art” introduces psychologists to the humanities. The author clarifies his position, trying to show that in his methodological projects L. S. Vygotsky adheres to the natural scientific approach; however, in some works he actually does think as a humanist. The author also casts doubt on Vygotsky's concept of art, demonstrating that the offered mechanisms of aesthetic response and interpretation of literary works are problematic or unsatisfactory. In this regard, analysis is conducted on the position of V. Sobkin, which differs significantly from the views of L. S. Vygotsky. The author offers the original interpretation of art, which implies the three aspect: sociocultural that analyzes artistic communication; related to the philosophy of subjectivity (life from the perspective of an artist, viewer, or reader); and analysis of artistic reality, which includes consideration of the literary language and events. The author elucidates the corresponding concepts and problems that appear in such art task. For better understanding of the proposed ideas, the author reviews the examples from the “Psychology of Art” by L. S. Vygotsky, and cites a case from the own works. The discrepancy with L. S. Vygotsky he views as an motive to continue his research and the need for their critical reflection.
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Steiner, Peter. "Tropos Logikos: Gustav Shpet's Philosophy of History." Slavic Review 62, no. 2 (2003): 343–58. http://dx.doi.org/10.2307/3185581.
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Gustav G. Shpet (1879-1937) is one of those formidable Russian thinkers who, in the early years of the last century, orchestrated a revolutionary paradigm shift across a broad swath of the humanities and social sciences that is still reverberating today. But we lack a comprehensive view of the manifold heterogeneity of Shpet's intellectual endeavors. This article focuses on one prominent lacuna in our knowledge of Shpet: the theory of history that he advanced in the 1910s. In many respects Shpet's theory anticipated the "linguistic turn" that occurred in western historiography during the last quarter of the twentieth century and that is most often identified with Hayden White's name. But while White analyzes the historian's discourse in terms of tropology and narratology, for Shpet predication is the key logical mechanism that generates production of texts about the past. The divergence of these two approaches can be explained through the hidden Kantian underpinnings of White's thought that contrasts sharply with the explicit Hegelianism of Shpet's theorizing.
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Santarcangelo, Vincenzo, and Riccardo Wanke. "The Early Stage of Perception of Contemporary Art Music: A matter of time." Organised Sound 25, no. 2 (August 2020): 130–41. http://dx.doi.org/10.1017/s1355771820000047.
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By way of a multidisciplinary approach, this article advances the idea that our listening to certain practices of contemporary art music (electroacoustic, classical contemporary, and electronic music) relies on precise connections to the early stage of perception. These styles of music are characterised by essential sound configurations that evolve in time, thus eliciting a sensorial impact which transcends features regarding sound sources and affective responses. Listeners grasp what Scruton calls ‘pure events’ in a ‘world of sound’, being able to distinguish, separate and sort acoustic stimuli. The article establishes a key parallel among seminal works of Bregman, McAdams, Kubovy, Bayle and other authors, highlighting a fundamental agreement of perceptual studies in psychology, neurophysiology and musicology for the understanding of the early stage of sound perception. Music practices typical of this perspective develop certain sound configurations, such as figure/ground arrangements, recurrent elements and morphological distinction, that closely mirror our innate mechanisms of prediction in perception. A parallel is made between studies in the philosophy of perception and the neurophysiology which allows us to postulate the idea that these styles of music are essentially based on pure temporal proto-objects.
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Hategan, Camelia-Daniela, Ruxandra-Ioana Curea-Pitorac, and Vasile-Petru Hategan. "The Romanian Family Businesses Philosophy for Performance and Sustainability." Sustainability 11, no. 6 (March 21, 2019): 1715. http://dx.doi.org/10.3390/su11061715.
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Family businesses represent a large segment of private companies and contribute greatly to economic growth. In this context, the objectives of this paper are to identify the characteristics of Romanian family businesses, starting from their involvement and governance mechanisms, and also to investigate if these specific items allow them to act towards creating sustainable businesses. In order to achieve these objectives, we have used qualitative and quantitative research, consisting of two phases: (a) we have analyzed the reports regarding the Romanian family businesses, in order to identify their characteristics; and (b) we have empirically tested if the characteristics are correlated with company financial performance and social responsibility. The results show that Romanian family businesses are aware of the changes that may appear and that they have started to implement internal processes oriented towards sustainability. Also, the main family involvements in business were ownership, governance, management and succession, which have a correlation with the performance of their company.
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KOMARYTSIA, Anna. "ARTISTIC TRANSCRIPTION OF THE EDGAR ALLAN POE'S IMAGERY IN ANTUN GUSTAV MATOŠ'S AND MYKHAILO YATSKIV'S PROSE." Problems of slavonic studies, no. 68 (2019): 181–89. http://dx.doi.org/10.30970/sls.2019.68.3079.
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Background: On the one hand, the literary works of A.G. Matoš were studied by Croatian scholars in the context of the philosophy and poetics of modernism. The authors of fundamental studies about A.G. Matoš are Dubravko Jelčić, Dubravka Oraić Tolić, Mladen Dorkin, Zlatko Posavac, Miljenko Majetić and Nada Iveljić. On the other hand, Ukrainian researchers Mykola Ilnytskyi, Solomiya Pavlychko, Oksana Melnyk, and Polish researcher Agnieszka Matusiak analyzed and studied M. Yatskiv's creative style in the context of the aesthetic canons of the modernism. The novelty of this article is in addressing the influence of E. Poe on the literary texts of the Ukrainian and Croatian modernists using the comparative approach. Purpose: This is the first attempt to analyze the influence of E. Poe on A. G. Matoš and M. Yatskiv. This article treats the actual and yet not studied question of a multilayer impact (composition, imagery set) of the American writer on the Croatian and Ukrainian modernist writers. Results: Romanticism writer Edgar Poe undoubtedly influenced Mykhailo Yatskiv and Antun Gustav Matoš, especially with his essay “The Philosophy of Composition”. In this essay the author demonstrates the principle of constructing the plot with the logic and the hidden mechanisms of imagery construction. But in the biography of the American writer we can find facts that poems such as “Nevermore”, “Ligeia” and others weren`t the result of logic, but they were yearning for his wife who passed away being very young. The author of this study found a numerous allusions on the essay “The Philosophy of Composition” by E. Poe, his images of a horror crow and a cat, as well as the images of dead beloved beautyis in many literary works of A.G. Matoš and M. Yatskiv. Croatian and Ukrainian symbolists also used E. Poe`s technique of the total effect. Mystery element is generalized in the literary texts of three authors in the images of the sphinx, which has several meanings. The most common meaning is the abstract definition of something mysterious that needs to be answered. Similarities between Matoš's and Yatskiv's imagery with American writer E. Poe prove, that Ukrainian and Croatian writers were inspired by the world art achievements, creatively transforming ideas that were contemporary both to the romanticism and modernism. Key words: Edgar Allan Poe, Antun Gustav Matoš, Mykhailo Yatskiv, modernism, romanticism, “The Philosophy of Composition”, art scenography.
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Erowati, Rosida. "Distribution of The Sensible Jacques Ranciere." Jubindo: Jurnal Ilmu Pendidikan Bahasa dan Sastra Indonesia 3, no. 3 (December 19, 2018): 109–17. http://dx.doi.org/10.32938/jbi.v3i3.347.
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This paper aims to discuss the problem of aesthetic in modern Indonesian literature in its relation with the politic. In contrast with the traditional understanding of the aesthetic and politic, this paper offers an alternative perspective abstracted by the French aesthetic philosopher, Jacques Rancière, to look into five problems concerning this matter. First, the mechanism of inclusion/exclusion in defining the aesthetic in relation to politic. This problem leads to the second, that is the definition of aesthetic as a distribution of sensibility which consists of the visible, the intelligible, and the possible where the main goal is to shatter the social hierarchy. In addition to this, the definition of revolutionary works relies not on the engagement of the artist into the political field, but on the succeed to bridging the hierarchical migration. Moreover, the presumption of equality as the foundation of the revolutionary in aesthetic, thus a popular work does not always consider as such. And finally, art as an act for the people to position themselves in participating in the polis, thus the idea of literacy is a very important instrument to make sure the subject to emancipate. By considering these problems, the question of when is the birth of modern Indonesian literature needs to be re-assessed.
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Vikhreva, G. M., and O. P. Fedotova. "Problems of forming the library stock in the context of axiological philosophy." Bibliosphere, no. 2 (June 30, 2017): 12–16. http://dx.doi.org/10.20913/1815-3186-2017-2-12-16.
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The paper considers mechanisms of extrapolating the axiological function on the library stock formation and creating its concept of values. The author show the latter influence upon the criterion system of primary and secondary selection, on correlation of the hybrid stock elements. Regularities of the library transformation in the electronic epoch - how the information-technological progress predetermines changes in the library paradigm of values - are exposed. This new library philosophy is being created on the cross-road of a series of sciences. Its aim is reflexive comprehension of the library role in economic, cultural and technological progress of the community, in socialization and creative development of a person, harmonizing social relations. The empiric base and starting point of generalized notions about the sphere of librarianship activities is the whole complex of all forms of social consciousness: science, policy, law, economy, moral, art and so on. Library axiology, which is a perspective direction of librarianship, is being developed successfully in the new philosophy frames. As this axiological function is inherent to the library essence mainly, it's revealed in each of so called «inner», system forming functions, such as: information-analytical, memorial, etc. Interacting with technological processes of library service and collections formation the axiological function also favors the development of various applied functions - educational, cognitive, enlightening ones and others.
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Laird, W. R. "Robert Grosseteste on the Subalternate Sciences." Traditio 43 (1987): 147–69. http://dx.doi.org/10.1017/s0362152900012514.
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It is well known that in the Middle Ages mathematics had little part in the study of nature. Natural philosophy, which had in its purview all of nature and natural things, was considered fundamentally distinct from mathematics, both in subject matter and in method. Yet there was a handful of sciences in which mathematics and natural philosophy came together, sciences that were to have a very significant role in later scientific thought. These were what Thomas Aquinas, in the thirteenth century, called the ‘intermediate sciences’ (scientiae mediae), since they were thought of as in some way intermediate between the natural and the mathematical; they included astronomy, optics, harmonics, and sometimes mechanics. They were also known as the ‘subalternate sciences,’ since they were considered under, or subalternate to, pure mathematics, and sometimes to natural philosophy as well.
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Marchand, Marie-Ève. "L’impossible « chambre des horreurs » du Museum of Ornamental Art : une archéologie du design criminel." RACAR : Revue d'art canadienne 39, no. 1 (August 14, 2014): 40–51. http://dx.doi.org/10.7202/1026201ar.
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In 1852, the Museum of Ornamental Art, today the Victoria and Albert Museum, opened its doors to the public. Taking part in a general reform of the British art and design education system, the museum sought to instill what were considered good design principles. To do so, a museographic strategy that proved to be as popular as it was controversial was chosen: the exhibition gallery entitled “Decorations on False Principles,” which immediately became known as the “Chamber of Horrors.” This gallery, a dogmatic expression of the functionalist conception of ornament advocated by the museum, referred through its nickname to another then famous Chamber of Horrors, the one in Mme Tussaud’s wax museum. In this paper, I will first argue that the Museum of Ornamental Art’s Chamber of Horrors is an early example of the association of ornament with crime that reappears in later design theories. Second, by examining the means taken to transmit the idea of the criminalization of ornaments designed after “bad principles,” I demonstrate why the concept of the Chamber of Horrors is in itself doomed to failure. I thus analyze this uncommon exhibition as a manifestation of the museum’s aesthetic philosophy and mechanisms at a time when the institution’s modalities were still in the process of elaboration.
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Vaccari, Andrés. "Dissolving Nature." Techné: Research in Philosophy and Technology 16, no. 2 (2012): 138–86. http://dx.doi.org/10.5840/techne201216213.
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This paper is an enquiry into the philosophical fault-line that leads from mechanicism to posthumanism. I focus on a central aspect of posthumanism: the erosion of the distinction between organism and machine, nature and art, and the biological and engineering sciences. I claim that this shift can be placed in the seventeenth century, in Descartes’s biology. The Cartesian fusion of the natural and technological opened the door to distinctly posthuman understandings of the living body, its relation to technological extensions, and the possibility of its drastic alteration. Descartes’s mechanicism demanded a reconceptualization of bodily boundaries, organismic unity, natural finality, causation, and bio/technological instrumentality; all of which Descartes boldly theorized in terms of the wondrous technologies of his day. This radical proposal obscured the possibility of thinking the human as ontologically unique, or as having an ideal unity. This paper will examine the posthuman ramifications of these aspects of Descartes’s philosophy.
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Belfarhi, Khadija. "RETHINKING LANGUAGE AMBIGUITY BEYOND THE SEMANTICO-PRAGMATIC INTERFACE." Folia linguistica et litteraria XII, no. 34 (April 2021): 211–33. http://dx.doi.org/10.31902/fll.34.2021.12.
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Ambiguity occurs when the language user intends unspecific and unclear meaning through written or spoken language. It has been approached by semantics, pragmatics and philosophy of language because indeterminate meaning needs a mechanism that assembles the right attributes for decreasing ambiguity. In that, such a mechanism acts away from the structural conditional which was for long thought applicable for clarifying meaning. An extension in the semantic-pragmatic mechanism is needed as far as the latter fails to account for indeterminate meaning. The present paper suggests a more interactional mechanism that integrates two components. The former relies on the linguistic resources that act as possible attributes including both the semantic and pragmatic. The second, however, is the free component wherein the analyst acts in free path that does not necessarily follow the linguistic rules and the fairplay aims at extending the attributes and their interaction. The application of this mechanism has been on a variety of ambiguities ranging from the simplest daily metaphors to the most indeterminate utterances. It has been found that its application succeeds with distanced attributes, as when the utterance's meaning is carried out by another far attribute.
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Eiland, Howard. "The Fate of Philology." boundary 2 48, no. 1 (February 1, 2021): 237–50. http://dx.doi.org/10.1215/01903659-8821498.
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Drawing on writings of the German Romantic tradition, Werner Hamacher’s aphoristic Minima Philologica develops a philosophy of philology, one operating without the control mechanisms of instrumentalized thought but not without internal rigor. Hamacher conceives philology as an art of (slow) reading bound to the spirit of experiment and linguistic play. Versed in the conventions and operations of literature in order to do it justice, philology nevertheless speaks in another voice, one more ascetic and conjectural. Having broken with the positivism of the Alexandrian tradition of philologia, this other philology plays the trickster in humanistic disciplines. Its task today is twofold: to unmask the industrial manufacture of language, complicit as it is with hostility to the word; and, as remedy for reification, to reawaken the philia in philology by cultivating—with historically informed critical vigilance—the power of affect, the mimetic power, in language and discourse.