In The Science of Culture and the Phenomenology of Styles, Renato Barilli examines the history of artistic style in relation to scientific discovery. Applying an innovative analysis, he illustrates the subtle, yet intrinsic, connection between paradigm shifts in the sciences and in the arts. Barilli argues that there are "homologies," or equivalences, between specific discoveries or inventions and revolutionary advances in artistic techniques. He draws upon the pioneering work of Lucien Goldman, who provides the fundamental definition of "homology," (...) as well as the theories of Luciano Anceschi and Marshall McLuhan in order to reassess conventional modes of dividing art history into such periods as modern, contemporary, and postmodern. By correlating moments like the invention of the printing press and the internal combustion engine with canonical periods in the evolution of art, Barilli unearths conceptual links across domains and disciplines. An insightful reflection on the historic perspectives of cultural production, The Science of Culture and the Phenomenology of Styles sheds new light on the relationship between visual culture, art, and language. (shrink)

The combination of single material elements characterises Nespolo’s artworks since the 60s. The primacy of art factuality - to do art manually - emerges both in his geometrically structured works and in his machines and wooden uniconic structures. These are all combined and based on the strategy of puzzle and on a reflection about the mental attitude to do art. For these reasons, it is possible to consider Nespolo as a forerunner of Conceptual Art.

Розкрито сутність поняття «рейтинг». Доведено значущість рейтингової оцінки для суб’єктів фінансового ринку, зокрема для страхових компаній, потенційних страхувальників, інвесторів та кредиторів.

This book offers a critical introduction to the work of American philosopher D. G. Leahy (1937-2014). Leahy's fundamental thinking can be characterized as an absolute creativity in which all creating is 'live' -- a happening occurring now that manifests a supersaturated polyontological actuality that is essentially created by the logic that characterizes it. Leahy leaves behind the categorial presuppositions of modern thought, eclipsing both Cartesian and Hegelian subjectivities and introducing instead an essentially new form of thinking founded in a nondual (...) logic of creation. The new thinking delineates the absolute unicity of existence as a creative interactivity beyond all traditional dichotomies (such as one vs. many, unity vs. plurality, identity vs. change): a fully "digitized" actuality that is nothing but newness, which inherently implies nothing but change. Through this new form of thinking, change itself is revealed to be the very essence of reality and mind. Any reader looking for a quantum leap beyond the thrall of modern and postmodern fixations is invited to hear and apprehend this new thinking that refuses to be conditioned by paradigms, categories, species, genera, walls, bridges, boundaries, or abstractions: an essentially free thinking that embodies creative novelty itself. (shrink)

"A Course on Aesthetics" offers a broad perspective of current scholarship in aesthetics without favouring any one particular school, discipline, or ideology. Written in an elegant and clear style, Barilli's text explores the basic inherent structures of human thought about the classification and evaluation of the arts. Barilli avoids any binding or dogmatic conclusions about artistic assessment in his consideration of both historical and more current art forms such as video and performance art. In doing so, he presents (...) a contemporary account of a scholarly concern. In "A Course on Aesthetics", Barilli examines the aesthetic experience in general, the passage from aesthetics to art, the "user" of art, and the critic. In his brilliant analyses of the phenomenology of various forms of art - from literature to music, from painting to art, from theatre to television - he discusses the relationship between representation and expression, touching on many of the major questions debated in contemporary criticism. A bibliography provides direction for further study of the history of aesthetics as a discipline. Renato Barilli has published numerous books in Italian on poetics, cultural theory, and contemporary art, including "Culturologia e Fenomenologia Degli Stili", L'Arte Contemporanea", and "Il Ciclo Del Postmoderno". The University of Minnesota Press has also published a translation of his "Rhetoric". Karen Pinkus is translator of Giorgio Agamben's "Language and Death". (shrink)

In this first paperback edition, a new introduction by Tom Burke establishes the ongoing importance of Sleeper's analysis of the integrity of Dewey's work and ...

Political liberals ask citizens not to appeal to certain considerations, including religious and philosophical convictions, in political deliberation. We argue that political liberals must include a demanding requirement of intellectual modesty in their ideal of citizenship in order to motivate this deliberative restraint. The requirement calls on each citizen to believe that the best reasoners disagree about the considerations that she is barred from appealing to. Along the way, we clarify how requirements of intellectual modesty relate to moral reasons for (...) deliberative restraint. And we argue against attempts to weaken our requirement of intellectual modesty by emphasizing those moral reasons. (shrink)

Locke is the first English philosopher to be considered in this series, and that fact of itself is worthy of attention. Philosophy, of course, like science, knows no frontiers and no national boundaries. Yet it is true to say that Locke’s contribution to philosophy is typically and peculiarly English. His moderation, his emphasis upon experience, his tolerant spirit of compromise, his dislike of mystical extravagance and of metaphysical speculation, even that elusive quality of his which people call his “common sense”, (...) are English traits. His very defects, illogicality leading to inconsistency and an awkward disorderliness of thought so abhorrent to the. (shrink)

The Nature of God explores a perennial problem in the philosophy of religion.

For quite some time now philosophers have stressed the need to distinguish between explanatory (motivating) reasons and justifying (good) reasons. The distinction is often illustrated with an example of someone doing something that is intended to strike the reader or listener, at least at the outset, as incomprehensible. The story of Abraham on Mount Moriah, who decided to sacrifice his son, Isaac, illustrates this pattern. Killing one’s own child is a horrific thing to do, and it is hard to understand (...) what would drive a parent to do such a thing. But once we are informed that Abraham actually believed God had told him to do so, we can see (allegedly) that there is at least an explanation of why he decided to kill his son. In the eyes of most people the planned act remains awful. But once we assume that Abraham was mistaken (say, because the best explanation in this case need not postulate the existence of God), we can see that his decision to kill his son is not a response to a normative good reason.1 So in a few lines we have outlined two reason notions: explanatory and normative (good) reasons. Cases like this afford an intuitive grasp of the distinction between explanatory and normative reasons — the difference between what explains Abraham’s motivation and behaviour and the good or bad reasons that apply to him. However, more recently (see e.g. Dancy 2000) the picture such cases present has been supplemented, or perhaps even corrected. There is a further feature of the Abrahamic story that needs to be teased out — one that gives a finer-grained understanding of what is going on than that provided by talk of the agent’s explanatory reasons. I share this view, and so what I will be doing in this paper is mainly to underline the need to dig a bit deeper. Motivation, as I shall argue, comes in different forms . (shrink)

This is the second of the three volumes comprising, Scholastic Humanism and the Unification of Europe. Focussing on the period from c.1090-1212, the volume explores the lives, scholarly resources, and contributions of a wide sample of people who either took part in the creation of the scholastic system of thought or gave practical effect to it in public life. The second volume of a compelling, original work which will redefine our perceptions of medieval civilization, the renaissance and the evolution of (...) modern Europe. Written by a man who was widely regarded as the greatest medieval historian. (shrink)

pt. 1. A critique of current educational aims.--pt. 2. Reason.--pt. 3. Education and reason.