This article explores and challenges notions and methodologies of conservation, including the use of blockchain technologies as a means of establishing provenance of a physical BioArtwork, of the artist’s documentation encapsulating their intentions and of the conservator’s records required for the artwork’s ongoing care. The exploration is done through a case study of an art project called ‘Unruly Objects and Biological Conservation’ created by Anna Dumitriu with support from Alex May. The artwork consists of three items containing RFID tags (...) sealed in resin – which point to the location of the artist’s documentation. Therefore, the works physically include instructions for maintaining their inherent concepts and materiality for the benefit of the conservators. Such instructions can often be difficult to track down, or become disassociated from the artwork while the digital preservation of this storage method also poses its own set of questions. The works also include biological material including mud from a bacterial ecosystem known as a Winogradsky Column, living plant material and SARS-CoV-2 (coronavirus) RNA from a plasmid construct. (shrink)

This paper has a three-Fold aim: (1) to show that wittgenstein gave a logical solution to the logico-Mathematical paradoxes, Which has not been taken into consideration only because of its brevity; (2) to prove that this solution does not reject the theory of types but interprets it in the simplest way; (3) to show that wittgenstein's solution is the solution given to the paradoxes called 'insolubilia', By the famous scholastic logician, Petreisde alligaco.

Artists have always been known for pushing boundaries, or even refusing to accept that those boundaries exist in the first place. Contemporary academic structures and disciplinary boundaries evolved out of enlightenment thinking but were born as much from university administration systems, finance departments and evaluation systems that have no place in genuine knowledge creation or in our understanding of the world. Biology has inspired artists for centuries, but it is only in the last few decades that a new bioart movement (...) has emerged and artists have actively begun to collaborate with scientists to create works that use human and animal tissues, bacteria and living organisms as materials. In order to progress this important emerging field, we need to develop new frameworks that can help artists, cultural institutions, scientists and science institutions engage with and understand the various issues at play when making and exhibiting such work. The aim is to ultimately open up new avenues for participation and engagement from all elements of society. (shrink)

Cybernetic Bacteria is an ongoing transdisciplinary investigation that brings together art, philosophy, microbiology and digital technology to examine the relationship of the emerging science of bacterial communication to our own digital communications networks, looking in particular at ‘packet data’ and bacterial quorum sensing. The project seeks to compare philosophical notions of the sublime with a kind of bacterial sublime, demonstrating the greater complexity of the interactions taking place at a microscopic level, when compared to human communication technologies such as the (...) World Wide Web (with particular focus on scale-free networks). The first artwork in the series employed a clear plastic tube of liquid agar jelly planted into earth to allow the soil bacteria beneath to grow upwards and become visible. A total of 100 µL of Homoserine Lactone, a hormone used by bacteria for quorum sensing (a form of bacterial communication), was then added by the artist as part of a performance lecture, with her in effect saying: ‘I’m here’ to the bacteria below. The microbes that have been communicated to then pass the signal on to their neighbours and so on. In theory this enables the signal to travel around the planet. However, the main issue with this work is one of Hermeneutics; the bacteria, which receive the communication, will not identify the artist as human – simply as another (albeit very large) bacterium. The project has subsequently evolved into a multiple screen digital artwork showing network traffic taking place in real time (web traffic, RFID and Bluetooth), a film of bacterial communication in progress (using two strains of genetically modified bacteria) and an interactive conceptualisation of the data from both sources generated using artificial life. The project continues. (shrink)

Știință și cunoaștere -- Alétheia -- Cartea întîlnirilor admirabile.

Les Prolegomenes a la Philosophie de Platon sont un manuel d'ecole neoplatonicien. Il s'inspire d'un modele dont Proclus a du etre l'auteur, mais l'origine de ce texte est presque surement alexandrine et doit dater de la premiere moitie du Vle siecle. Cette oeuvre est essentielle pour comprendre comment etait diffuse l'enseignement platonicien, et pour mieux saisir le mouvement des idees de l'Antiquite finissante. Dans une importante introduction, L. O. Westerink a retrace l'histoire de l'ecole d'Alexandrie et celle du genre litteraire (...) de ces introductions a Platon et a Aristote. (shrink)

Purpose. To examine the existential anthropology of G. Marcel and E. Minkowski, in order to demonstrate the necessity of distinguishing the universal-spiritual, as human in human being, apart from the individual-existential in him, and to reveal the hierarchical correlation of biosocial, existential and spiritual spheres in personality. Theoretical basis. Within existential philosophy the author differentiates two separate traditions and proceeds from the insufficiency of the distinction of existential sphere, proposed by phenomenological tradition, showing the necessity of its correlation with the (...) spiritual sphere as a sphere of humanity, proposed by non-phenomenological tradition of G. Marcel and E. Minkowski. Originality. The author presents the anthropological conception of G. Marcel and E. Minkowski, in which human personality is understood as unity of individual-existential and universal-spiritual, which requires a special trans-empirical field of culture, which contains senses, images and symbols of humanity. Also, the author presents the recent developments of existential thinkers in distinguishing existential and spiritual dimensions, both not reducible to the physical and social dimensions. Conclusions. In both existential traditions, the specifically human was founded as a trans-biological and trans-social phenomenon, which appears as indefinable and non-predetermined. But in first tradition, humanity is understood as an existence, as a unique individuality, "project", variant of humanity, equivalent to other variants, and universal is understood as a community of human condition in the world. While in the second tradition, the universal is understood as spiritual. Thus, horizontal level of our private existence, as the process of movement from birth to death, is supplemented by vertical of human, universal ideals and images. Humanity appears as a task, on the way to which human being transcends beyond the limits of his individual "self" to the "super-individual", through inclusion into spiritual community, into universal culture. (shrink)

Modern scholars have been concerned with the hostility shown to Alexander by the Hellenistic schools of philosophy. Two literary portraits have been distinguished, the Peripatetic and the Stoic, the former deriving from Theophrastus' book on Callisthenes, or starting with this work the Peripatetics worked out a theory of and applied it to Alexander, in order to belittle his achievements. It was a case of giving sophisticated expression to the kind of crude resentment expressed by Demades.

The locus classicus for Plutarch's own views on his methods is in the Alexander He has begun by asking for the indulgence of his readers if they do not find all the exploits of Alexander and Caesar recounted by the biographer or if they discover him not reporting some famous incident in detail (); and he goes on to compare his own search for evidence which will indicate the kind of soul, with the activity of the painter, who, in order (...) to create a likeness, concentrates on the eyes and pays little attention to the other parts. Commentators and critics have been right to take this as a key text for the purpose of understanding Plutarch's attitude towards his biographical work; nevertheless there are other passages in the Lives where we can at least glimpse his attitude to his subject, and we can only see the Alexander-remarks in correct perspective if we take these other passages into account. I propose therefore, starting with the Alexander, to see how far these critical remarks apply to Plutarch's theory and practice elsewhere in the Lives. (shrink)

According to the Ars Amatoria the notorious rape took place on the occasion of a primitive dramatic entertainment staged in a theatre, in which the seats and furnishings were also primitive. There is no time for a description of the arts of the performers—a tibicen and a ludius—before the Romans, impatient for action, receive their signal from Romulus. Nor is there any mention of a god in whose honour the entertainment had been provided.

Catalog of the collection of the Madamkhand Museum of Art, named after the wife of Batzhargalyn Batbai︠a︡r, businessman and member of the Mongolian Khural.