The article defines the function of the visual brain as a search for constancies with the aim of obtaining knowledge about the world, and claims that it is applicable with equal vigour to the function of art. We define the general function of art as a search for the constant, lasting, essential, and enduring features of objects, surfaces, faces, situations, and so on, which allows us not only to acquire knowledge about the particular object, or face, or condition represented on (...) the canvas but to generalize, based on that, about many other objects and thus acquire knowledge about a wide category of objects or faces. In this process, the artist must also be selective and invest his work with attributes that are essential, discarding much that is superfluous. It follows that one of the functions of art is an extension of the major function of the visual brain. Indeed, philosophers and artists often spoke about art in terms that are extremely similar to the language that a modern neurobiologist of vision would use, except that he would substitute the word ‘brain’ for the word ‘artist.’. (shrink)

This book is an original and important study of philosophical issues in medieval Arabic poetics. Examining the commentaries on Aristotle's Poetics by Avicenna in the context of Aristotle's logical theory, the author shows how the philosophers justified the logical and moral power of poetic discourse.

This volume is a comprehensive introduction to the study of the meaning of linguistic expressions in English: words and sentences. In conducting the analysis, it draws on two sources. First, it relies on the assumptions of Cognitive Linguistics, which describes language as being non-modular, symbolic, usage-based, meaningful and creative. Second, it hinges on the assumptions of Cognitive Semantics, which describes meaning as being embodied, motivated, dynamic, encyclopaedic and conceptualised. It explicates these assumptions clearly and applies them to diverse areas of (...) language. Ultimately, it enables students to recognise the complexity of the English linguistic system, and trains them to solve the intricate puzzles characterising its nature. (shrink)

Integrating Kant's ideas on aesthetics and morality, Dr. Kemal explains how Kant's theories emphasize that art is critical to the development of culture and community goals. He clarifies Kant's often obscure efforts to justify artistic judgements and demonstrates Kant's claim that they have their own necessity. Containing explanations of many difficult terms present in Kant's Critique of Judgment, this study is a valuable guide to understanding Kant's association of beauty and morality.

Kemalpaşzade, 1468 or 9-1534; Islamic scholar and historian.

This book brings together a distinguished group of scholars from music, drama, poetry, performance art, religion, classics and philosophy to investigate the complex and developing interaction between performance and authenticity in the arts. The volume begins with a perspective on traditional understandings of that relation, examining the crucial role of performance in the Poetics, the marriage of art with religion, the experiences of religious and aesthetic authenticity, and modernist conceptions of authenticity. Several essays then consider music as a performative art. (...) The final essays discuss the link of authenticity to sincerity and truth in poetry, explain how performance, as an authentic feature of poetry, embodies a collective effort, and culminate in a discussion of the dark side of performance - its constant susceptibility to inauthenticity. Together the essays suggest how issues of performance and authenticity enter into consideration of a wide range of the arts. (shrink)

Summary Humans know when they themselves experience beauty, even though the term itself has been difficult to define adequately for a variety of reasons. Given this centuries’ old failure to give an adequate definition of beauty, perhaps the time has come to enquire whether the experience of beauty, regardless of its source, can be defined in neural terms.

Applying our new found knowledge from neuroscience to the discipline of law seems a natural development - the making, considering, and enforcing of law of course rests on mental processes. However, there are real issues that the legal system will face as neurobiological studies continue to relentlessly probe the human mind. This volume represents the first serious attempt to address questions of law as reflecting brain activity, emphasizing that it is the organization and functioning of the brain that determines how (...) we enact and obey laws. (shrink)

The visual brain consists of several parallel, functionally specialized processing systems, each having several stages (nodes) which terminate their tasks at different times; consequently, simultaneously presented attributes are perceived at the same time if processed at the same node and at different times if processed by different nodes. Clinical evidence shows that these processing systems can act fairly autonomously. Damage restricted to one system compromises specifically the perception of the attribute that that system is specialized for; damage to a given (...) node of a processing system that leaves earlier nodes intact results in a degraded perceptual capacity for the relevant attribute, which is directly related to the physiological capacities of the cells left intact by the damage. By contrast, a system that is spared when all others are damaged can function more or less normally. Moreover, internally created visual percepts-illusions, afterimages, imagery, and hallucinations-activate specifically the nodes specialized for the attribute perceived. Finally, anatomical evidence shows that there is no final integrator station in the brain, one which receives input from all visual areas; instead, each node has multiple outputs and no node is recipient only. Taken together, the above evidence leads us to propose that each node of a processing-perceptual system creates its own microconsciousness. We propose that, if any binding occurs to give us our integrated image of the visual world, it must be a binding between microconsciousnesses generated at different nodes. Since any two microconsciousnesses generated at any two nodes can be bound together, perceptual integration is not hierarchical, but parallel and postconscious. By contrast, the neural machinery conferring properties on those cells whose activity has a conscious correlate is hierarchical, and we refer to it as generative binding, to distinguish it from the binding that might occur between the microconsciousnesses. (shrink)

Bu makale kapsamında, XII. yüzyılda yaşamış önemli Yahudi din âlimlerinden Musa bin Meymûn (öl. 601/1204) ile XVII. yüzyılda yaşamış olan ve düşünceleri neticesinde ateist olduğu suçlamasıyla yirmi dört yaşındayken aforoz edilip bağlı bulunduğu Yahudi cemaatinden kovulan Spinoza’nın (öl. 1088/1677) vahiy ve nübüvvet anlayışları ele alınmıştır. Spinoza, Teolojik-Politik İnceleme adlı eserinde, teolojinin felsefeden ayrılması gerekliliğini göstermek amacındadır. Spinoza’nın bu arzusu onu, İbn Meymûn’la ve onun temsil ettiği gelenekle karşı karşıya getirmiştir. Neticede Spinoza’nın vahiy ve nübüvvet konusunda İbn Meymûn’dan etkilendiği ve onunla (...) bir hesaplaşmaya girdiği görülmektedir. Onun İbn Meymûn’dan hangi bakımdan etkilendiği ya da onunla nasıl bir hesaplaşmaya girdiği makalenin asıl konusunu teşkil etmektedir. Çalışmamız giriş, ana bölüm ve sonuç olarak üç bölümden oluşmaktadır. Giriş bölümünde öncelikle vahiy kavramının ne ifade ettiğine ve hem İslam düşünürlerinin hem de İbn Meymûn’un beslendiği ana kaynak olması nedeniyle Platon ile Aristoteles’in kehanet ve rüya hakkındaki görüşlerine kısaca değinilmiştir. Ayrıca Spinoza’nın İbn Meymûn’dan etkilenmesi veya onunla hesaplaşmasının, İbn Meymûn’un da mensubu olduğu İslam filozoflarının temsil ettiği gelenekle alakalı olmasından dolayı giriş bölümünde, bazı İslam filozoflarının görüşlerine de ana hatlarıyla değinme gereği duyulmuştur. Bunu yaparken Müslüman filozofların ilklerinden ve en önemlilerinden kabul edilen Kindî (öl. 252/866?), Fârâbî (öl. 339/950) ve İbn Sinâ’nın (öl. 428/1037) düşüncelerine özlü şekilde değinilmesi yeterli görülmüştür. Bu arada tarihsel açıdan İbn Meymûn’la Spinoza arasında bir yerde duran diğer bir Yahudi filozof Levi ben Gershom’un (öl. 745/1344) fikirleri de kısaca ele alınmıştır. Bu filozofların düşüncelerinden yola çıkılarak vahyin mütehayyile kuvvetiyle, ayrıca rüya ve kehanetle ilgisi gösterilmeye çalışılmıştır. Çalışmanın asıl bölümünde ise öncelikle İbn Meymûn’un vahiy ve nübüvvet anlayışı incelenmiş, akabinde bu, Spinoza’nın vahiy ve nübüvvet anlayışıyla mukayese edilmiştir. İbn Meymûn’un nübüvvet anlayışı incelenirken yer yer İslam filozoflarından etkilendiği kısımlara değinilmiştir. Bu mukayesede bilhassa İbn Meymûn’un Delâletu’l-Hâirîn adlı eseriyle Spinoza’nın Teolojik-Politik İnceleme adlı eseri ana kaynaklar olarak değerlendirilmiştir. Bu çalışma neticesinde hem iki düşünürün teolojik yaklaşımının daha iyi anlaşılması hem de Aydınlanmanın müjdecilerinden biri sayılan Spinoza’nın eleştirel dahi olsa İbn Meymûn’a kadar uzanan düşünce kodları gösterilmek istenmiştir. İbn Meymûn’a kadar uzanan bu kodların aynı zamanda İslam düşünce dünyasına uzandığı da vurgulanmak istenmiştir. Bu makalede, konunun kapsamı iki düşünürün peygamber, vahiy ve vahyin oluşmasında rol alan enfüsi ve afaki etmeler ile vahyin dili yönündeki düşünceleriyle sınırlandırılmıştır. İki düşünürün teolojiye ait mucize gibi diğer görüşlerindeki farklılıklar ya da benzerlikler makalenin kapsamı dışında tutulmuştur. (shrink)

What is art? What constitutes great art? Why do we value art so much and why has it been such a conspicuous feature of all human societies? These questions have been discussed at length though without satisfactory resolution. This is not surprising. Such discussions are usually held without reference to the brain, through which all art is conceived, executed and appreciated. Art has a biological basis. It is a human activity and, like all human activities, including morality, law and religion, (...) depends upon, and obeys, the laws of the brain. To understand the biological foundations of art, we must enquire into the biological foundations of knowledge, for art constitutes a form of knowledge; indeed is knowledge. We are still far from knowing the neural basis of the laws that dictate artistic creativity, achievement and appreciation, but spectacular advances in our knowledge of the visual brain allow us to make a beginning in trying to formulate neural laws of art and aesthetics; in short, to study neuroaesthetics. In this essay, I try to discuss the art of three Titanic figures in Western culture — Dante, Michelangelo and Wagner — in neurological terms. I try to show that we can trace the origins of their art to a fundamental characteristic of the brain, namely its capacity to form concepts. This capacity is itself the by-product of an essential characteristic of the brain. That characteristic is abstraction, and is imposed upon the brain by one of its chief functions, namely the acquisition of knowledge. (shrink)

The first volume in the series Cambridge Studies in Philosophy and the Arts offers a range of responses by distinguished philosophers and art historians to some crucial issues generated by the relationship between the art object and language in art history. Each of the chapters in this volume is a searching response to theoretical and practical questions in terms accessible to readers of all human science disciplines. The editors, one a philosopher and one an art historian, provide an introductory chapter (...) which outlines the themes of the volume and explicates the terms in which they are discussed. The contributors open new avenues of enquiry involving concepts of 'presence', 'projective properties', visual conventions and syntax, and the appropriateness of figurative language in accounting for visual art. The issues they discuss will challenge the boundaries to thought that some contemporary theorising sustains. (shrink)

As quantum technologies (QT) advance, their potential impact on and relation with society has been developing into an important issue for exploration. In this paper, we investigate the topic of democratization in the context of QT, particularly quantum computing. The paper contains three main sections. First, we briefly introduce different theories of democracy (participatory, representative, and deliberative) and how the concept of democratization can be formulated with respect to whether democracy is taken as an intrinsic or instrumental value. Second, we (...) give an overview of how the concept of democratization is used in the QT field. Democratization is mainly adopted by companies working on quantum computing and used in a very narrow understanding of the concept. Third, we explore various narratives and counter-narratives concerning democratization in QT. Finally, we explore the general efforts of democratization in QT such as different forms of access, formation of grassroot communities and special interest groups, the emerging culture of manifesto writing, and how these can be located within the different theories of democracy. In conclusion, we argue that although the ongoing efforts in the democratization of QT are necessary steps towards the democratization of this set of emerging technologies, they should not be accepted as sufficient to argue that QT is a democratized field. We argue that more reflexivity and responsiveness regarding the narratives and actions adopted by the actors in the QT field and making the underlying assumptions of ongoing efforts on democratization of QT explicit, can result in a better technology for society. (shrink)

Nietzsche's writings have shaped much contemporary reflection on the relation between philosophy and art. This book brings together a number of distinguished contributors to examine his aesthetic account of the origins and ends of philosophy. They discuss the transformative power which Nietzsche ascribes to aesthetic activity, including his aesthetic justification of existence and its fusion of social and personal existence, and they investigate his experiments with an 'aesthetic politics' and a politicisation of aesthetics. Together their essays set out the ground (...) for future debate about the inter-relation between art, philosophy, and value. (shrink)

In this paper, we provide two novel expected utility theorems by suitably adjusting the independence and continuity axioms. Our first theorem characterizes expected utility preferences using weak versions of the independence axiom (with varying mixture weights) and a new weak continuity axiom. Our second theorem characterizes these preferences using weaker versions of the independence axiom (with mixture weights fixed at 1/2) and a strong topological continuity axiom. We provide useful examples to illustrate the tightness of these characterizations.

We give an analysis over a variation of causal sets where the light cone of an event is represented by finitely branching trees with respect to any given arbitrary dynamics. We argue through basic topological properties of Cantor space that under certain assumptions about the universe, spacetime structure and causation, given any event x, the number of all possible future worldlines of x within the many-worlds interpretation is uncountable. However, if all worldlines extending the event x are ‘eventually deterministic’, then (...) the cardinality of the set of future worldlines with respect to x is exactly ℵ0\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$$\aleph _0$$\end{document}, i.e., countably infinite. We also observe that if there are countably many future worldlines with respect to x, then at least one of them must be necessarily ‘decidable’ in the sense that there is an algorithm which determines whether or not any given event belongs to that worldline. We then show that if there are only finitely many worldlines in the future of an event x, then they are all decidable. We finally point out the fact that there can be only countably many terminating worldlines. (shrink)

Studies in the sociology of religion in Turkey have always kept the concern of examining the objective with an impartial perspective. The fact that researches in Turkey have focused on the religion of Islam and different religious groups with Islamic origins has kept the problem of the objectivity of the sociology of religion on the agenda methodologically. However, it should not be forgotten that understanding Turkish society and other societies where Islam is the dominant religion will be possible by going (...) down to the first sources sociologically as well as religiously, and interpreting the behavior of the first believers of the revelation. In particular, the ijtihads of the "Rashid Caliphs Period", which is a special period in the history of Islam, have been referred to as a religious and rational source both in the formation of Islamic fiqh and in the social structures of Muslim nations. In this context, the question of what are the effects and sociological aspects of the ijtihads of the first four caliphs on the development of Islamic culture and civilization, the govarnance and social formation of Muslim societies will be examined. What social reasons did the Rashid caliphs take into account in their ijtihads, what social events they led to, and how they had an impact on institutions. This study, which will be an essay on "Sociology of Ijtihad", also aims to question the possibilities of a common study field for Sociology and Fiqh. (shrink)

This volume brings together essays from distinguished scholars in a variety of disciplines - philosophy, history, literary studies, art history - to explore various ways in which aesthetics, politics and the arts interact with one another. Politics is an elastic concept, covering an oceanic breadth of mechanisms for conducting relations between empowered groups, and these essays offer a range of perspectives, including nations, classes, and gendered subjects, which examine the imbrication of politics with arts. Together they demonstrate the need to (...) counteract the reductionist view of the relationship between politics and the arts which prevails in different ways in both philosophy and critical theory, and suggest that the irreducibility of the aesthetic must prompt us to reconceive the political as it relates to human cultural activity. (shrink)