The purpose of the study is to consider the concept of "philosopheme", which allows analyzing such basic categories of philosophical and legal reflections of the writer and thinker F.M. Dostoevsky as crime and punishment and correlating their interpretation with his personal life experience. The scientific novelty of the work lies in the fact that through the disclosure of the content of the philosophems "crime" and "punishment", the existential aspects of F.M. Dostoevsky's anthropological and philosophical-legal reflections are revealed. As a result (...) of the analysis of Dostoevsky's novel "Crime and Punishment", his other works, the writer's letters, autobiographical testimonies, it becomes clear that the core of these philosophies for Dostoevsky is a moral code that allows a person to overcome the" disconnection "and" disconnection " of modern man's being both with himself and with society. (shrink)

Could anyone shake nineteenth century Russia out of herphilosophico-juridical stagnation? Was there anyone whodared speak of rights, of freedoms based on vital principles?Was there anyone who had the courage to suggest that the lawof force be turned into recognition of the force of law, orwas bold enough to call for the revival of natural law onits idealist reading? Solov'ëv turned out to be the thinkerwho was able to do these things. An amateur in juridicalquestions, remote from the enlightenment rationalizations ofpolitical (...) liberalism, Solov'ëv set out to lay the basis forjuridical freedom in way that was unexpected philosophicallyand culturally. (shrink)

The great Russian philosopher Nikolai Berdyaev (1874-1948) believed that the dawn of the twentieth century would bring an end to the old atheistic and positivistic worldview and the beginning of a new era of the spirit. His philosophy goes beyond mere rational conceptualization and tries to attain authentic life itself: the profound layers of existence in contact with the divine world. He directed all his efforts-philosophical as well as in his personal and public life-at replacing the kingdom of this world (...) with the kingdom of God. According to him, we can all attempt this by tapping the divine creative powers that constitute our true nature. Our mission is to be collaborators with God in His continuing creation of the world. In The Meaning of History, Nikolai Berdyaev examines the fundamental problems of the philosophy of history. For him, the philosophy of history is a science of the spirit bringing us into communion with the mysteries of spiritual life. The real philosophy of history is that of the triumph of authentic life over death, of man's participation in another reality much deeper and richer than the external reality in which he is immersed. The history of man and the world is rooted in "celestial history," in the deepest interior spiritual life, which can be equated with heavenly life, the life of eternity, the life of God. The source of history lies in the experience of the human spirit in direct communion with the divine spirit.  "Nikolai Berdyaev's writings are always insightful, penetrating, passionate, committed-expressions of the whole person. They are as intensely alive now as when they were first written."-Richard Pevear, translator of War and Peaceand The Brothers Karamazov "Nikolai Berdyaev's writings retain their freshness as vehicles for thinking not just about the future of Russia, but about the spiritual challenges facing the modern world."-Paul Vallier, author of Modern Russian Theology: Bukharev, Soloviev, Bulgakov "Nikolai Berdyaev is one of the few who have found the Christian answer, and yet do not cease to question with those whose lives are still torn asunder by disbelief, doubt, and sufferings; one of the few who dare to be, as thinkers, Christians and, as Christians, thinkers."-Evgeny Lampert, author of The Apocalypse of History Boris Jakim has translated and edited many books in the field of Russian religious thought. His translations include S. L. Frank's The Unknowable, Pavel Florensky's The Pillar and Ground of the Truth, Vladimir Solovyov's Lectures on Divine Humanity, and Sergius Bulgakov's The Bride of the Lamb. (shrink)

The complete system of knowledge is a standard trope of science fiction, a techno-utopian dream and an aesthetic ideal. It is Solomon’s House, the Encyclopaedia and the Museum. It is also an ideology – of Enlightenment, High Modernism and absolute governance. Far from ending the dream of a total archive, 20th-century positivist rationality brought it ever closer. From Paul Otlet’s ‘Mundaneum’ to Mass-Observation, from the Unity of Science movement to Wikipedia, the dream of universal knowledge dies hard. As a political (...) tool, the total archive encompasses population statistics, gross domestic product, indices of the Standard of Living and the international ideology of the United Nations Educational, Scientific and Cultural Organization, the World Health Organization, the free market and, most recently, Big Data. Questions of the total archive engage key issues in the philosophy of classification, the poetics of the universal, the ideology of surveillance and the technologies of information retrieval. What are the social structures and political dynamics required to sustain total archives, and what are the temporalities implied by such projects? This introduction and the articles that follow describe and place in historical context a series of concrete instances of totality. Our analysis is arranged according to four central themes: the relationship between the Archive (singular) and archives (plural); the image of the archive and the aesthetics of totality; pathologies of accumulation; and the specific historical trajectory of the total archive in the 19th and 20th centuries. (shrink)

We construct and study structures imitating the field of complex numbers with exponentiation. We give a natural, albeit non first-order, axiomatisation for the corresponding class of structures and prove that the class has a unique model in every uncountable cardinality. This gives grounds to conjecture that the unique model of cardinality continuum is isomorphic to the field of complex numbers with exponentiation.

Although Descartes is often said to have coined the modern notion of ‘consciousness’, he defines it neither explicitly nor implicitly. This may imply (1) that he was not the first to use ‘conscientia’ in its modern, psychological sense, or (2) that he still used it in its traditional moral sense. In this paper, I argue for the latter assumption. Descartes used ‘conscientia’ according to the meaning we also find in texts of St. Paul, Augustine, Aquinas and later scholastics. Thus the (...) Cartesian conscientia is, technically speaking, a shared knowledge of the specific value of our thoughts as thoughts and at the same time the cause of this value. This means that it is not itself a kind of individual knowledge, awareness, or a particular thought. Rather, ‘conscientia’ refers to the evaluative knowledge of an ideal observer. (shrink)

Is love best when it is fresh? For many, the answer is a resounding “yes.” The intense experiences that characterize new love are impossible to replicate, leading to wistful reflection and even a repeated pursuit of such ecstatic beginnings. Aaron Ben-Ze’ev takes these experiences seriously, but he’s also here to remind us of the benefits of profound love—an emotion that can only develop with time. In The Arc of Love, he provides an in-depth, philosophical account of the experiences that arise (...) in early, intense love—sexual passion, novelty, change—as well as the benefits of cultivating long-term, profound love—stability, development, calmness. Ben-Ze’ev analyzes the core of emotions many experience in early love and the challenges they encounter, and he offers pointers for weathering these challenges. Deploying the rigorous analysis of a philosopher, but writing clearly and in an often humorous style with an eye to lived experience, he takes on topics like compromise, commitment, polyamory, choosing a partner, online dating, and when to say “I love you.” Ultimately, Ben-Ze’ev assures us, while love is indeed best when fresh, if we tend to it carefully, it can become more delicious and nourishing even as time marches on. (shrink)

Recalling the banishment of Russian philosophers in 1921, Boris Zaitsev remarked "only Shpet is forgotten." But Gustav Gustavovich Shpet was not "forgotten" and he was not the only one who succeeded in avoiding expulsion at that time. Among the humanists of prerevolutionary-stamp who continued to work in Soviet Russia after 1922, we can list P.P. Blonskii, A. A. Bogdanov, A.N. Giliarov, S.A. Zhebelev , A.F. Losev, V.N. Ivanovskii, R.V. Ivanov-Razumnik, N.I. Kareev, A.O. Makovel'skii, V.N. Murav'ev, E.L. Radlov, B.G. Stolpner, (...) P.A. Florenskii, B.A. Fokht, G.I. Chelpanov, PS. Iushkevich: almost all of them were philosophers. (shrink)

Obwohl ‚conscientia’ ein zentraler Grundbegriff der cartesischen Metaphysik ist, sagt Descartes nirgends explizit, was er damit meint. Auch aus der Art und Weise, in der er das Wort verwendet, lässt sich dessen Bedeutung nicht vollends erschließen. Insbesondere handelt es sich nicht um einen reflexiven Denkakt (cogitatio), nicht um eine Disposition zum Haben solcher cogitationes und nicht um eine Art Aufmerksamkeit. Um die Bedeutung des Begriffes zu klären, schlage ich vor, auf klassische Texte von Augustinus, Thomas von Aquin und jesuitischen Autoren (...) zurückzugreifen. Es ergibt sich, dass man unter der conscientia traditionell ein Wissen um den moralischen Wert einer Handlung verstand, das der Handelnde mit einem idealen Beobachter (d.i. Gott) teilt. Ich behaupte, dass sich diese Begriffsbestimmung mehr oder weniger analog auf Descartes übertragen lässt. Die cartesische conscientia ist demnach ein Wissen um den spezifischen Wert eines Gedanken, das der Denker mit einem idealen Beobachter teilt. (shrink)

RESUMO O intuito deste artigo é estudar o objetivo principal da estética musical de Boulez, para o início das comemorações de seus 90 anos, desde certas categorias de Deleuze, considerando que elas nos permitem compreender e delinear uma lógica da sensação sonora. Se Deleuze se ocupou em detalhe do trabalho de Francis Bacon, por exemplo, a fim de criar uma "lógica da sensação visual" em que o conceito de "Figura" fosse central, propomos que o trabalho musical de Boulez, analisado a (...) partir do pensamento de Deleuze, possa mostrar os momentos decisivos de uma "lógica da sensação sonora." Por meio de alguns trabalhos de Boulez podemos ver dois elementos muito importantes para nossa pesquisa dados na estrutura instalada pela filosofia de Deleuze. Esses dois elementos que darão forma a este artigo são: as "figuras" da música e as "forças" do som expressivo. ABSTRACT This article aims to study the main objective of musical aesthetics of Boulez, to begin to commemorate 90 years, since certain categories of Deleuze, as they allow us to understand and outline a logic of sound sensation. If Deleuze worked in detail the work of Francis Bacon, for example, to create a "logic of visual sensation" where the concept of "Figure" is central, we propose that the musical work of Boulez, analyzed from Deleuze's thought, be possible to show the decisive moments of a "logic of sound sensation." Along some works by Boulez we can see two very important elements for our research in the framework installed Deleuze's philosophy are given. These two elements will shape this article are: the "figures" of music and the "forces" expressive sound. (shrink)

In Principia Philosophiae I 9, Descartes defines “thought” as follows: “By the name ‘thought’ I understand all that which happens in us such that we are conscious of it, insofar as there is consciousness of it in us”. I inquire how to read the "insofar as" in this definition.

This paper examines two contemporary answers to the question of whether moral values and norms are apt for rational criticism and justification: Richard Rorty’s radically contextualist approach—which is centered around the notion of contingency and is characterized by a dismissal of all claims to philosophical justification—and Karl-Otto Apel’s transcendental-pragmatic version of discourse ethics—which encompasses highly ambitious claims to justification and universal validity. Contrasting the key theses of Rorty’s contextualism with those of Apel’s universalist discourse ethics and reconstructing their respective conceptions (...) of moral progress we argue that neither Rorty’s nor Apel’s position is convincing. (shrink)

RésuméJe soutiens qu'Avicenne admet au moins un cas où il est possible pour notre intellect de saisir un individu particulier en soi : chaque intellect humain peut s'appréhender comme étant numériquement lui-même sans avoir recours à une notion ou un concept général. Car l’être humain préserve son identité lorsqu'il est séparé de son corps. Nous discutons des textes où Avicenne semble affirmer et nier qu'un être humain peut s'appréhender lui-même. Nous concluons que, contrairement à la conscience de soi qu'invoque Avicenne (...) dans l'expérience de pensée de « l'homme volant», l'auto-intellection humaine est une réalisation rare et nous expliquons ce qui la distingue de l'auto-intellection plus complète de l'intellect divin. (shrink)

The object of this study is acting speech in modern theater and cinema. The subject of the study is the influence of the aesthetics of screen speech on the theatrical word in the 21st century. The author explores in detail the phenomenon of "microphone speech" in modern drama theater, analyzes the reasons for the rapid expansion of microphone sound and, in particular, the influence on stage speech of the aesthetics of post-drama theater. With numerous examples, various options for using microphones (...) in a drama theater are considered - from local to radical. The author pays special attention to the category of "naturalness" of the acting speech in the screen arts and on the theatrical stage. The novelty of the study lies in a comprehensive study of the phenomenon of "microphone speech" in drama theater and the category of naturalness in stage and screen speech. The author concludes about the overwhelming influence of cinema on modern theatrical speech. The article scientifically substantiates the impact on the speech art of a modern theater actor both the aesthetics of post-dramatism and the new standard of naturalness that has developed in the screen arts and has formed spectator perception. The opposite influence of stage speech on the aesthetics of speech in screen arts is mediated, realized almost exclusively through the theater school. In the final part of the study, the author concludes that changes are necessary in the speech education of future theater and film artists. (shrink)

In this paper a possible interpretative value of Aristotle’s fundamental ontological doctrine of potentiality and actuality is considered in the context of operationally undoubtedly the most successful but interpretatively still controversial theory of modern physics – quantum mechanics – especially regarding understanding the nature of the world, the phenomena of which it describes and predicts so successfully. In particular, beings of the atomic world are interpreted as real potential beings actualized by the measurement process in appropriate experimental arrangement, and the (...) problem of actual beings of the atomic world is considered in the context of Aristotle’s threefold requirement for the priority of actuality over potentiality – in time, definition or knowledge, and substantiality. (shrink)

Издание содержит: нравственность между эзотерикой и правом, геополитика нравственности, либерализованная Россия и либеральная эзотерика и др.

We consider a situation in which individuals search for accurate decisions without direct feedback on their accuracy, but with information about the decisions made by peers in their group. The “wisdom of crowds” hypothesis states that the average judgment of many individuals can give a good estimate of, for example, the outcomes of sporting events and the answers to trivia questions. Two conditions for the application of wisdom of crowds are that estimates should be independent and unbiased. Here, we study (...) how individuals integrate social information when answering trivia questions with answers that range between 0% and 100%. We find that, consistent with the wisdom of crowds hypothesis, average performance improves with group size. However, individuals show a consistent bias to produce estimates that are insufficiently extreme. We find that social information provides significant, albeit small, improvement to group performance. Outliers with answers far from the correct answer move toward the position of the group mean. Given that these outliers also tend to be nearer to 50% than do the answers of other group members, this move creates group polarization away from 50%. By looking at individual performance over different questions we find that some people are more likely to be affected by social influence than others. There is also evidence that people differ in their competence in answering questions, but lack of competence is not significantly correlated with willingness to change guesses. We develop a mathematical model based on these results that postulates a cognitive process in which people first decide whether to take into account peer guesses, and if so, to move in the direction of these guesses. The size of the move is proportional to the distance between their own guess and the average guess of the group. This model closely approximates the distribution of guess movements and shows how outlying incorrect opinions can be systematically removed from a group resulting, in some situations, in improved group performance. However, improvement is only predicted for cases in which the initial guesses of individuals in the group are biased. (shrink)

Ces dernières années, des musées d’art contemporain sont apparus partout dans le monde occidental et au-delà. Le nombre de ce genre de musées augmente en permanence. Le touriste d’aujourd’hui, qui se rend dans une grande ville, s’attend à y trouver un musée d’art contemporain, de la même manière qu’il s’attend à y trouver un restaurant italien ou un cinéma. Dans la plupart des cas, ces attentes sont confirmées. Dans le pire des cas, le touriste va apprendre que le musée d’art (...) contemporain est encore en construction et qu’il sera ouvert l’année suivante. Quoi qu’il en soit, cette acceptation si facile de la notion de « musée d’art contemporain » par la culture d’aujourd’hui n’est pas sans importance. Traditionnellement, le musée d’art constituait un endroit dans lequel l’art du passé était collecté, conservé et montré au beau milieu de la vie contemporaine. Mais que signifie construire un musée d’art contemporain ? Que signifie « muséographier » la contemporanéité elle-même?Museums of contemporary art have appeared everywhere in the Western world and beyond in recent years, and they are constantly increasing in number. Any tourist visiting a major city today expects to find a museum of contemporary art, just as they expect to find an Italian restaurant or a cinema. In most cases, this is indeed what they find. At the very least, tourists will find that the city’s museum of contemporary art is still under construction and will open the following year. Whatever the case, the ready acceptance of the “museum of contemporary art” in today’s culture is significant. Traditionally, an art museum was a place where the art of the past could be collected, curated and displayed right in the heart of the contemporary world. But what does creating a museum of contemporary art really mean? In other words, what does it mean “to make a museum exhibit” of contemporaneity itself? (shrink)