vyp. 1. O filosofīi v Rossīi, o mistit︠s︡izmi︠e︡ i kritit︠s︡izmi︠e︡ V.S. Solovʹeva, o svobodi︠e︡ voli, o smysli︠e︡ zhizni, ob otnoshenīi︠a︡kh vi︠e︡ry k znanīi︠u︡.

Note by editors of Voprosy filosofii: March 2, 1979, marked 85 years since the birth of the distinguished Soviet biochemist Academician Aleksandr Ivanovich Oparin. This splendidanniversary coincides with another remarkable event. Fifty-five years ago, in 1924, A. I. Oparin offered an original solution to a problem that had excited the human mind for centuries — the problem of the origin of life on earth. Oparin's tiny book, published in 1924 by the "Moskovskii rabochii" Press, had tremendous importance for (...) science and world view. Inthe years that followed, Oparin developed its content and won worldwide recognition, helping to establish the fame of Soviet science. (shrink)

Fenomen russkogo kosmizma -- Nikolaĭ Fedorovich Fedorov -- Konstantin Ėduardovich T︠S︡iolkovskiĭ -- Vladimir Ivanovich Vernadskiĭ -- Aleksandr Leonidovich Chizhevskiĭ.

This article discusses the foundation of ideas for Vyacheslav Ivanov’s interpretation of Pushkin’s poem. In The Gypsies, Ivanov sees a conflict between personal freedom and sobornost’ as revealed b...

First comprehensive introduction to information theory explores the work of Shannon, McMillan, Feinstein, and Khinchin. Topics include the entropy concept in probability theory, fundamental theorems, and other subjects. 1957 edition.

This article provides a brief systemic analysis of the key concepts of the so-called new science of art developed by the Austrian art historian Hans Sedlmayr. The result of Seldmayr’s pursuits are reflected in creation of his own philosophy of art and culture based on a particular worldview. The cognition of the whole, along with individual and unique, underlies this science. Understanding is the goal of scientific knowledge for Sedlmayr. It suggests not only abstract knowledge, but peculiar existential experience as (...) well. Sedlmayr interprets the understanding of artwork as its contemplation, which in turn, is identical to its actualization or presence. In Seldlmayr’s art of science, epistemologies and ontologies merge into each other. He interprets artworks simultaneously as the event and as the social organism, which overcomes the linearity of time and fragmentation of plurality. This artificial complex system, built on the paradoxical identity of the single and plenty, is both finite and infinite. Sedlmayr’s views encompass classical and nonclassical approach towards cognition of the whole. He relies on the principles of monism, seeking to reduce all concepts to a single basis, single point of singularity that designates the synthesis of all the moments of the whole and can be expressed by a single category. The main category, which resembles the center of the opposites, is the “midpoint”. The aforementioned ideas are consistent and logical only in such scientific worldview that identifies ontology and epistemology, which implies the unity of contemplation and phenomenon of the artwork. Therefore, in Sedlmayr's constructions, actualization or revival of the artwork is identical with its comprehension. The systemic approach towards the artwork reflected in the theoretical works of Sedlmayr extends the boundaries of art science and converges with philosophy. (shrink)