The Monk Andronik, in secular life Aleksei Fedorovich Losev, was born on September 23, 1893, and was named in honor of one of the Kiev-Pecherskii reverend fathers, Aleksii . He died on the memorial day of the Apostles Bartholomew and Barnabas on May 24, 1988.

The life of Aleksei Fedorovich Losev is in many respects a genuine riddle, which we, his contemporaries, will be puzzling over for a long time. "Man as symbol," "man as myth," "a servant of truth," "the last outstanding philosopher of the Russian ‘Silver Age,"’ "the greatest Russian humanist and philosopher of the present era," "an ascetic," "a guardian of intellectual tradition," "a chosen spirit," "a passionate devotee of the dialectic method," "a Russian thinker," "one of the most notable (...) Russian philosophers and philologists of the twentieth century," "a man in whose person Russian philosophical thought revealed such power of talent, such keenness of analysis, and such strength of intuitive speculation" and whose ideas may be called "unquestionably the work of genius"—all these rapturous words of past decades which we have picked at random seem fully to confirm the felicitous destiny of Aleksei Fedorovich Losev, who lived out only four months of his ninety-fifth year, after having completed an eight-volume History of Classical Aesthetics [Istoriia antichnoi estetiki] and the major work Vladimir Solov'ev and His Times [VI. Solov'ev i ego vremia], and having left a list of printed works with more than 460 titles and another whole series of writings awaiting publication—scholarly writings on mythology, logic, mathematics, and medieval dialectics, and even novels. (shrink)

Aleksei Fedorovich Losev did not share the hereditary Russian prejudice that science and philosophy exclude religion . Although he did not leave any specialized works in theology, the history of religion, or the foundations of the Christian worldview, many of his books, lines from letters, and fragments of conversations and, most importantly, his whole way of life and life journey show that all his life he reflected continuously and intensely on themes of the Christian faith and, primarily, of (...) the Orthodox faith that he confessed. Not only did he reflect on them, he lived by them. For Aleksei Fedorovich Christianity was never just an object of knowledge, a preoccupation of the reflective mind, but rather the profound foundation of his relationship with the world and with people. It constituted not only his thought and its foundation, but his very life. Religion, as Aleksei Fedorovich understood it, is first of all a certain kind of life, not just a personal worldview, however religious and mystical it might be. It was not a personal morality, however lofty or religious it might be, nor personal feeling or esthetics, however ardent the feeling might be or however perfectly mystical the esthetics. Religion, in his mind, is the realization of a worldview, the material substance of morality, the real affirmation of feeling; it is the life of the person directed to the persons substantial self-affirmation, to self-affirmation in eternity . In recounting the facts of Aleksei Fedorovichs spiritual biography I shall not follow their chronological order. The basic facts can be found in the works of A.A. Takho-Godi, D. Dzhokhadze, M. Gogotishvili, and others. (shrink)

Четвертая работа из знаменитого восьмикнижия Лосева "Диалектика художественной формы", представляет собой изложение эстетической теории, созданной автором с "привлечением диалектического метода".

No sooner had I written these incantational words than I hesitated a bit, as if sensing the skeptical smirks of those who believe that they alone are the true guardians of the legacy of our great contemporary Aleksei Fedorovich Losev-an original thinker who said some things that others could not at the watershed between two epochs. A person who was persecuted for the greater part of his life but was never broken, and who drank from the cup of (...) Gulag "reforging" under the "sun of Stalin's constitution," which proclaimed good for everyone but "especially unto them who are of the household of faith". (shrink)

Aleksei Fedorovich Losev's first work was published in 1916, and his last writings still continue to be published to this day. Over seventy years of a person's active scholarly work could not but contain substantial shifts and distinct periods, although at the same time they could not turn into a series of completely unconnected stages, separated by historical-biographical circumstances and semantically self-contained. The following is an outline of the initial period of Losev's creative work, with brief accompanying (...) biographical information and points of reference to the substantive and stylistic aspects of subsequent periods. It is superfluous to say that this outline in no way claims to give a full portrait of Losev; on the other hand, however, without an analysis of the initial period of his activity, one cannot pose the question of the general foundations of Losev's thought. (shrink)

The long creative career of Aleksei Fedorovich Losev touches on many different spheres, currents, and traditions of world thought. The greater part of this manifold variety is divided between two major domains of culture: philosophy and classical philology, the study of antiquity. But such a division was by no means an insurmountable barrier for Losev. These two domains were linked together by many threads in his world view and in his work. One of the principal links running (...) through the whole of his creative career was the idea or intuition of total-unity [vseedinstvo], which has occupied both philosophers and investigators of antiquity. That this idea came to Losev was far from accidental. Total-unity is one of the dominant intuitions and pervasive themes of Russian religious-philosophical thought. It is at the center of the most important stage of the latter's development, the stage of the metaphysics of total-unity, with which Losev was intimately associated. And one cannot avoid it even now, either in the study of Losev's legacy or in broader reflections on the paths of Russian thought. (shrink)

A valuable gain of our times is that many fables—true, some of the most terrible ones—have become true stories, and many allegories and metaphors have become almost literal. Take this verse: today we hardly hear in it any poetic convention; everything is the commonplace reality of our age—both its brutishness and its blood, and even the gluing together of its vertebrae after various great breaks. Therefore a clear question is posed; and surely the age is coming to an end and (...) an answer is needed. So then, who was able to do it? Who managed to glue things together? Among the few names and fates that may be given in reply, one of the most indisputable is the name of Aleksei Fedorovich Losev. Yes, he had occasion to do so. (shrink)

Audacity of the Spirit by A.F. Losev demonstrates the merits of the dialectical method to understand antiquity, history, culture and philosophy. The book is a guide to dialectics for beginners and a major philosopher's summing-up of his reflections to a general audience. It is an English translation from the Russian original Дерзание духа (Politizdat Moskva, 1988), translated by Peter R. Weisensel and Vitali I. Betaneli.

It is a matter of fact that Europe is facing more and more crucial challenges regarding health and social care due to the demographic change and the current economic context. The recent COVID-19 pandemic has stressed this situation even further, thus highlighting the need for taking action. Active and Assisted Living technologies come as a viable approach to help facing these challenges, thanks to the high potential they have in enabling remote care and support. Broadly speaking, AAL can be referred (...) to as the use of innovative and advanced Information and Communication Technologies to create supportive, inclusive and empowering applications and environments that enable older, impaired or frail people to live independently and stay active longer in society. AAL capitalizes on the growing pervasiveness and effectiveness of sensing and computing facilities to supply the persons in need with smart assistance, by responding to their necessities of autonomy, independence, comfort, security and safety. The application scenarios addressed by AAL are complex, due to the inherent heterogeneity of the end-user population, their living arrangements, and their physical conditions or impairment. Despite aiming at diverse goals, AAL systems should share some common characteristics. They are designed to provide support in daily life in an invisible, unobtrusive and user-friendly manner. Moreover, they are conceived to be intelligent, to be able to learn and adapt to the requirements and requests of the assisted people, and to synchronise with their specific needs. Nevertheless, to ensure the uptake of AAL in society, potential users must be willing to use AAL applications and to integrate them in their daily environments and lives. In this respect, video- and audio-based AAL applications have several advantages, in terms of unobtrusiveness and information richness. Indeed, cameras and microphones are far less obtrusive with respect to the hindrance other wearable sensors may cause to one’s activities. In addition, a single camera placed in a room can record most of the activities performed in the room, thus replacing many other non-visual sensors. Currently, video-based applications are effective in recognising and monitoring the activities, the movements, and the overall conditions of the assisted individuals as well as to assess their vital parameters. Similarly, audio sensors have the potential to become one of the most important modalities for interaction with AAL systems, as they can have a large range of sensing, do not require physical presence at a particular location and are physically intangible. Moreover, relevant information about individuals’ activities and health status can derive from processing audio signals. Nevertheless, as the other side of the coin, cameras and microphones are often perceived as the most intrusive technologies from the viewpoint of the privacy of the monitored individuals. This is due to the richness of the information these technologies convey and the intimate setting where they may be deployed. Solutions able to ensure privacy preservation by context and by design, as well as to ensure high legal and ethical standards are in high demand. After the review of the current state of play and the discussion in GoodBrother, we may claim that the first solutions in this direction are starting to appear in the literature. A multidisciplinary debate among experts and stakeholders is paving the way towards AAL ensuring ergonomics, usability, acceptance and privacy preservation. The DIANA, PAAL, and VisuAAL projects are examples of this fresh approach. This report provides the reader with a review of the most recent advances in audio- and video-based monitoring technologies for AAL. It has been drafted as a collective effort of WG3 to supply an introduction to AAL, its evolution over time and its main functional and technological underpinnings. In this respect, the report contributes to the field with the outline of a new generation of ethical-aware AAL technologies and a proposal for a novel comprehensive taxonomy of AAL systems and applications. Moreover, the report allows non-technical readers to gather an overview of the main components of an AAL system and how these function and interact with the end-users. The report illustrates the state of the art of the most successful AAL applications and functions based on audio and video data, namely lifelogging and self-monitoring, remote monitoring of vital signs, emotional state recognition, food intake monitoring, activity and behaviour recognition, activity and personal assistance, gesture recognition, fall detection and prevention, mobility assessment and frailty recognition, and cognitive and motor rehabilitation. For these application scenarios, the report illustrates the state of play in terms of scientific advances, available products and research project. The open challenges are also highlighted. The report ends with an overview of the challenges, the hindrances and the opportunities posed by the uptake in real world settings of AAL technologies. In this respect, the report illustrates the current procedural and technological approaches to cope with acceptability, usability and trust in the AAL technology, by surveying strategies and approaches to co-design, to privacy preservation in video and audio data, to transparency and explainability in data processing, and to data transmission and communication. User acceptance and ethical considerations are also debated. Finally, the potentials coming from the silver economy are overviewed. (shrink)

Nietzsche's The Birth of Tragedy, andearly 20th century Russians' interpretationsand embellishments of it, informed Losev'stheories of music and myth and his studies ofthe religions of Apollo and Dionysus. Hiscomplex musical aesthetic includes the ideathat music is the expression of a fundamentallyDionysian reality structured by Apollonianelements. In The Dialectic of Myth, heargued that myth is a dialectical necessity(not just a necessity), attacked the secularmythologies of the Enlightenment and Marxism,and upheld ``Christian mythology'' (his term). In The Mythologies of the Greeks andRomans, (...) he traced the religions of Zeus,Apollo, and Dionysus from paleolithic Crete tothe end of the Roman Empire. (shrink)

The influence of Spengler on Wittgenstein's philosophical development is considered. The point of interest is in a significant methodological restructuring which it appears to have produced. After an initial over-enthusiastic reception, Wittgenstein is seen to object on some points which he attempted to emend in his own philosophy. Spengler's name disappeared inreworked manuscripts but traces persist in the Philosophical Investigations and an important section (§89-133) is found to be connected with it.

A. F. Losev, one of the most important Russian philosophers and historians of ancient aesthetics and culture in the 20th century, develops in his ‘Dialectics of the Myth’ (Dialektika mifa), 1930, a personalistic ontology by using elements of neoplatonic philosophy and Orthodox Christian belief. According to Losev reality in all its different expressions and ontological strata must be understood as “mythical”, i.e. as “living mutual exchange of subject and object”. The subjective and personal aspect of reality is not (...) grounded in man’s epistemic relation to it alone; reality in itself has to be characterized as personal and subjective. The main philosophical opponent is Descartes, the founder of “modern rationalism and mechanism”. (shrink)

This article is devoted not only to Losev''sphilosophical works, but also to his fiction,which he created during 1930s and 1940s.Losev''s eight books of the 1920s (his``octateuch'''') combine into a single whole thatamounts to his philosophy of life and historydepicted in expressive images. At the same timeLosev''s ``octateuch'''' strikes one as having beenwritten at a single sitting and in a singlestyle, in a genre that can be identified as the``philosophical novel'''' having as much right asSpengler''s opus to be called (...) an ``intellectualnovel.'''' In his prose of the 1930s and 1940sLosev tries with artistic methods to resolvethe philosophical problems which he raised inhis works of the 1920s. Losev''s ``octateuch'''' andhis fiction are directed against thosecontemporary materialists who seek to embodyPlato''s Republic, whom he christens``soil-less nihilist idealist utopians.'''' All ofthis leads to the conclusion that Losev''sintellectual novel belongs to a definite andmore specific subgenre. It is undoubtedly ananti-utopia, full of the grotesque. In additionto its scientific and social orientation,Losev''s anti-utopia is also religious innature. Thus Losev not only depicts the realconsequences of utopian dreams, but also turnsto the ``life of the artist,'''' which is far fromany technological or social utopias but isfilled with another, no less terrifying ornihilistic utopia: that of the non-religiousexistence of the human person. Losev preservedhis anti-utopian and anti-nihilist viewsthrough his late period (1950s–1980s), despitethe care he took not to cross Sovietcensorship. Losev''s anti-utopia is the kind ofChristian realism to which he appealedthroughout his life. (shrink)

Only now can we consider that the question of genuine mythical detachment has been fully clarified. We remember how difficult it was to find the true root of this detachment. We compared mythical detachment with general material detachment and poetic detachment but could not find a satisfactory answer anywhere. All the time we have faced a difficult task: to synthesize the sensuousness, extreme con-creteness, and purely material corporeality of myth with its otherworldly, fabulous, and generally acknowledged "unreal" character. After many (...) attempts we have only now finally found this genuine synthesis in the concept of miracle. Miracle is thus an absolutely necessary dialectical synthesis by which mythical consciousness lives and without which myth itself would not exist. From this point of view, myth's relation to other areas of human creativity also appears in a new light. (shrink)

Die Philosophie des Mythos, imwesentlichen eine Aktualisierung deraltrussisch-byzantinischen Seinsauffassung undeines Verständnisses von Philosophie alsTheologie, spielt im Kontext sowjetischerKultur die Rolle eines sowohlmodernekritischen, als auch antimodernenDenkansatzes. Durch ihn wird kulturkritischnicht bloß die sowjetische Moderne, sonderndie gesamte europäisch-neuzeitlicheEntwicklung, als deren Quintessenz diesowjetische Moderne aufgefaßt und als derenAusgangspunkt die Renaissance angenommen wird,prinzipiell in Frage gestellt.