The text examines Sergej Nikolajeviè Bulgakov’s description of the philosopheme as thoroughly “immanent” (viz., the immanence of man qua being, such that ontology in Bulgakov becomes a conceptual analogue for immanence) and the corollary that such immanence necessarily excludes the problematic of the “creation of the world.” Because of this resolute immanence and the notion that the creation of the world in the form of creatio ex nihilo requires a non-immanent or nonontological thought and concept, the problematic for Bulgakov is (...) approached only by a theologeme. Appropriating this argument as material for a cursory philosopheme, the text attempts to transform Bulgakov’s theologeme into a philosopheme through an elision of God and dogma that overdetermines the theologeme. This philosopheme (nascent within Bulgakov’s work itself, in both his hesitation to the overdetermination of immanence and the commitment to the problem of creation) would be a thoroughly non-ontological philosopheme, one that allows for the treatment of the problematic of “creation” or singular ontogenesis, yet with the corollary that this philosopheme must rely on an “ontological zero” Such a philosopheme qua ontologically empty formula nevertheless remains ontologically significant insofar as it is to evince the limit of ontology, in the ontological zero’s nonrelationality to ontology. (shrink)

[ES] En recientes décadas se ha observado un renovado interés por algunos de los temas clásicos de la ontología, desde áreas de conocimiento externas a la filosofía, sin embargo, este renacimiento ontológico ha «estimulado» una multiplicidad y diversidad de teorías y concepciones «ontológicas» que ha dado como consecuencia una proliferación de «ontologías» y de interminables batallas para determinar qué tipo de «entidades» estudian sus respectivos «dominios», que a su vez se consideran autónomos e independientes entre sí, inclusive de la propia (...) ontología. En este sentido, el propósito de este trabajo es caracterizar y representar de manera adecuada estas «ontologías», dentro del marco general del debate acerca de la naturaleza de la ontología. Es así que, en la primera sección haré un diagnostico de la ontología contemporánea; en la segunda proporcionaré algunas definiciones y caracterizaciones de las principales concepciones, en especial de las denominadas «ontologías aplicadas»; y en la tercera analizaré sí estas concepciones pueden ser consideradas diversos tipos de ontología o simplemente son diversos niveles de ontología. El marco de la discusión no se centrará en confrontar todas estas nociones, sino en describirlas y analizarlas para ofrecer un enfoque sobre el estado actual de la ontología y sus problemas. [EN] In recent decades there has been a renewed interest in some of the classic themes of ontology, from areas of knowledge external to philosophy; however, this ontological revival has «stimulated» a multiplicity and diversity of «ontological» theories and concepts that has resulted in a proliferation of «ontologies» and endless battles to determine what kind of «entities» study their respective «domains», which in turn are considered autonomous and independent, even of ontology itself. In this sense, the purpose of this work is to adequately characterize and represent these «ontologies», within the general framework of the debate about the nature of ontology. Thus, in the first section I will make a diagnosis of contemporary ontology; in the second I will provide some definitions and characterizations of the main concepts, especially the so-called «applied ontologies»; and in the third I will analyze whether these concepts can be considered different types of ontology or simply are different levels of ontology. The framework of the discussion will not center on confronting all these notions, but to describe and analyze them to provide a focus on the current state of ontology and its problems. (shrink)

Za Arystotelesem logika postrzegana jest jako narzędzie filozofii. Po blisko 2 i pół tysiąca lat dostrzegamy, że nie tylko logika, ale także różne formalne narzędzia i struktury są narzędziami namysłu filozoficznego – i również – naukowego. Zwolennikiem takiego postrzegania sprawy był Jan F. Drewnowski. Narzędzia, o których mówię w tytule, to różnego rodzaju techniki i reguły wypracowane w naukach formalnych. Zaliczyć do nich możemy np. regułę modus ponens czy technikę dowodu rozgałęzionego. Z kolei przez strukturę formalną rozumiem pewien obiekt formalny (...) np. algebrę Boole’a albo przestrzeń topologiczną, które pozwalają modelować przedmioty różnych dziedzin naukowych, w tym filozofii. W niniejszym artykule zarysuję główne idee Drewnowskiego i w jaki sposób przestrzeń topologiczna pozwala na analizę tak różnych pojęć filozoficznych jak możliwy świat czy monada. Przykłady te posłużą do argumentacji za prawdziwością metodologicznych tez Drewnowskiego, że stosowanie logiki symbolicznej służy uściślaniu dowolnych dziedzin wiedzy i – jak sądzę – nie narusza bogactwa treści właściwych danej dziedzinie. (shrink)

In this article a certain "aesthetical" argument in favor of the situation ontology is presented. The connections between the claims concerning ontology, semantics and grammar are examined. The main thesis of the article is, that assuming the non-compositionality principle commits us to the acceptance of the primacy of situation.

1. Preambolo In qualsiasi conversazione a tavola se provo a chiedere ai commensali se c’è una differenza tra moneta e denaro, dopo una prima perplessità e una certa sorpresa per la domanda, quasi tutti dicono sì, ma poi trovano difficile spiegare in che cosa si distinguano. Un dato però è certo: tutti pensano che una qualche diversità vi sia. Un secondo quesito potrebbe essere invece posto a chi come me ha intrapreso un’indagine per comprendere le caratteristiche e la natura di (...) tale differenz... (shrink)

A pergunta pelo sentido do ser será aqui orientada para a afirmação do postulado de uma condição essencialmente precária do mortal, a partir da qual ele deverá ser radicalmente situado em seu horizonte histórico-metafísico fundamentalmente através do seu comprometimento existencial com uma abertura abissal do fenômeno de mundo que excede sua capacidade de apreensão.

Este artigo aborda as principais teorias sobre a natureza metafísica das obras de arte, cobrindo as propostas eliminativistas, monistas e pluralistas. Entre estas últimas, é dado destaque ao trabalho sobre a ontologia das artes performativas, e em particular, da música. Termina-se com uma referência à recente viragem da discussão para o campo da meta-ontologia e a polémica sobre a plausibilidade do revisionismo ontológico no caso de artefactos ou objectos sociais.

According to the Austrian philosopher Hans Kelsen (1881-1973), social and institutional entities are the only entities that can be null, void. The starting point of the article, The “Invalid” and the “Nothing”: At the Origins of Social Ontology, is the analysis of Hans Kelsen’s thesis. But: Why are social entities the only entities that can be null, void? In order to answer this question, in the first part of the article, the author uses two new concepts: validity-imperfection and validity-falsification. The (...) second part of the paper deals with a new ontological question: Are null (void) social entities something? (shrink)

This paper is the brief introduction with which I chaired the medieval session of the Conference on the history of ontology. It proposes some simple and general considerations, which aim to provide an absolutely essential historical-conceptual outline of medieval metaphysical thought, and to express a way of envisaging its unity. My thesis is that medieval ontology is indifferently theological (theocentric) in character, and that one of the tasks of the historian is to understand how an “Aristotelian” metaphysics could have been (...) formed in correspondence with a theological and Christian knowledge, and through what theoretical and conceptual transformations this Aristotelian metaphysics could have constituted the instrument of elaboration and justification of such a knowledge (and its historical evolutions). (shrink)

The present essay seeks to analyze the reflections on cinematographic art proposed by Jean-Luc Nancy, referring in particular to his L’Évidence du film. Abbas Kiarostami (2001) as well as to other studies where the author reconsiders the concepts of image and gaze. The specifity of films lies in “evidence”, which is a way to affirm the finite character of existence-presence. Cinema addresses the world without any form of realism. It is reality itself to open out to the image. What results (...) is a possible gaze which is no longer on representation and nor can it be a representative gaze. This gaze does not look at any object; the very act of seeing can be seen through it. (shrink)

In its mainstream analysis, social ontology seems to make use of the modern idea of subjectivity. Margaret Gilbert, and David Lewis in his previous book on conventions, consider the subject as an auto transparent postulate. The thesis I will discuss in this paper is based on the idea that the ethical position outlined by Friedrich Nietzsche, which remains problematic in its positive outcomes, becomes a useful instrument for the comprehension of the pre-institutional components of the social world when applied to (...) an entirely different and more articulate framework such as those offered by contemporary social ontologies. (shrink)