The aim of this study was to test red - green dichromats' ability to discriminate between illuminant and surface-reflectance changes in natural scenes. Stimuli were simulations of natural scenes presented on a colour monitor with 10-bit resolution per gun. The natural scenes were obtained with a fast hyperspectral imaging system. Six different scenes (including rocks, foliage, and buildings) were tested. In each trial, two images were presented in sequence, each for 1 s, with no interval. The images differed in the (...) phase of daylight on the scene: first with correlated colour temperature 25 000 K, then 6 700 K. The spectral reflectance of a region in the second image was changed randomly, consistent with a local change in daylight. The observer's task was to decide whether a particular surface in the successive images was the same (pure illuminant change) or different (illuminant change with a surface-reflectance change). The performance of four deuteranopes and five protanopes varied considerably across the scenes tested, with mean colour constancy indices (± 1 SEM) of 0.48 (± 0.13) and 0.19 (± 0.10), respectively (1.0 representing ideal performance). Deuteranopes seemed less disadvantaged than protanopes, performing close to normal with some scenes. (shrink)

The number of discriminable colours is often assumed to be of the order of several million but the extent of detectable chromatic diversity present in individual natural scenes is an open question. Here, the aim was to estimate the number of discriminable colours seen in natural scenes. Hyperspectral data were obtained from a set of natural scenes over the range 400 - 720 nm at 10 nm intervals (Nascimento et al, 2002 Journal of the Optical Society of America A 19 (...) 1484 - 1490) and the representation of each scene in CIELAB space computed for all pixels of the image. The number of discriminable colours was estimated by counting the number of unit volumes in the three-dimensional volume defined by the scene when represented in CIELAB space. We found that the number of discriminable colours estimated in a scene could vary by an order of magnitude from scene to scene, but rarely exceeded 105, indicating a limited chromatic diversity. (shrink)

The starting point of my study is Kant’s remark to the effect that Garve in his treatise on the connection between morality and politics presents arguments in defence of unjust principles. Recognition of these principles is, according to Kant, an inadvisable concession to those who are inclined to abuse it. I interpret this judgement by making a detailed comparison of the texts of the two treatises. I demonstrate that Garve’s work is an eclectic attempt to combine in one concept the (...) lessons of historical experience with the ideas drawn from British empiricism and German rationalism. These ideas were criticised by Kant in his “critical” period. There is a consensus among researchers that Garve condoned the expansionist policy of Frederick II of Prussia, totally denied that legality in international relations was possible and in general deserved the reputation of an conservative. From that point of view the key values for Garve were the security and well-being of the state. I offer an alternative interpretation of Garve’s position because I believe that the value of political stability plays an important role in it. Such an interpretation makes it possible to treat Garve’s narrative as it was assessed by Kant, i.e. as a concession to the common principles of political practice as a result of a failure to find the guiding theory. My study has established that the role of Garve’s work in the writing of Kant’s treatise Toward Perpetual Peace was more significant than Kant’s own words suggest. Besides, I show that it was under Garve’s influence that Kant turned to the problem of excessive complexity of the principles involved in the search for concrete political decisions. Garve obviously laments this complexity and yet makes these principles still more complex. Kant offers a simpler solution of the problem on the basis of his theory of morals and right. (shrink)

Монография предназначена для студентов, аспирантов, преподавателей юридических и философских факультетов, а также для всех тех, кто интересуется философско-правовой проблематикой.

A.P. Martinich's interpretation that in Leviathan Thomas Hobbes believed that the laws of nature are the commands of God and that he did not rely on the Bible to prove this has been criticized by Greg Forster in this journal (2003). Forster uses these criticisms to develop his own view that Hobbes was insincere when he professed religious beliefs. We argue that Forster misrepresents Martinich's view, is mistaken about what evidence is relevant to interpreting whether Hobbes was sincere or not, (...) and is mistaken about some of Hobbes's central doctrines. Forster's criticisms are worth discussing at length for at least three reasons. He takes the debate about Hobbes's sincerity to a new level of sophistication; his misinterpretations of Hobbes may become accepted as correct; and his criticisms raise issues about the proper method of interpreting historical texts. (shrink)

v. 1. Einai kai phainesthai -- v. 2. Einai kai anthrōpinē pragmatikotēs -- v. 4. Einai kai anthrōpinē praxis.

This book examines Augustine's description of the actually existing world, especially that aspect most important for the human pursuit of happiness: the human being and God. It begins with an overview of the characteristics of the human individual and the context in which they must live out their lives, a context dominated by two seemingly contradictory realities: the existence of God and the existence of evil.

The most searching elaboration of the detective image of the historian has come from the pen of R. G. Collingwood. His short detective story "Who Killed John Doe?" implied that, in spite of the often tentative nature of the question-answer process in a successful historical investigation, the pieces of the puzzle fit together and their coherence becomes self-evident. The predominance of physical evidence in Collingwood's detective story had its counterpart in his research on Hadrian's Wall. In examining the questions raised (...) by his investigations, and distinguishing between direct and circumstantial evidence, Collingwood was able to formulate a comprehensive theory concerning the date of the Wall's construction, the purpose of the Wall, the date of the related turf wall at Birdoswald, the chronological position of the fourteen forts along the Wall, and the role and date of the Vallum following the Walls' course. The pattern of research into the mysteries of Hadrian's Wall has hardly conformed to the linear, step-by-step schema of Collingwood's logic of question and answer. As with much detective work, it has embodied its share of informed guesswork, mistaken inference, false leads, and fortuitous revelations. (shrink)

The outline of modern macroeconomics took shape in Britain in the early nineteenth century thanks, in part, to David Ricardo, one of the most influential economists of the time. Britain was challenged by monetary inflation, industrial unemployment and the loss of jobs abroad. Ricardo pointed the way forward. As a financier and Member of Parliament, he was well versed in politics and commercial affairs. His expertise is shown by the practicality of his proposals, including the resumption of the gold standard, (...) which was essential given the destabilizing policy of the Bank of England. Ricardo's expertise appears also in his debate with T. R. Malthus about whether an industrial economy can suffer a prolonged depression. Say's Law of Markets and the Quantity Theory of Money figure prominently in his works, but not in an extreme form. He was instead a subtle theorist, recognizing the non-neutrality of money, trade depressions and unemployment. (shrink)

This work is the first to demonstrate the differences and similarities between Plato's myths and the traditional kind of which he was critical. It also actively demonstrates the extent to which his own myths support or undermine the philosophical ideas of the dialogues in which they are set. It offers new arguments and criticism on point of detail concerning modern interpretations.

The novel Doctor Zhivago has not received the attention it has deserved lately—even much less for its philosophical ideas—so in this essay I want to bring attention to Boris Pasternak's notion of the nature of consciousness, which I find quite interesting. Yurii Zhivago, one of the principal characters in Doctor Zhivago, says the following about the experience of death: Will you [Anna Ivanovona] feel pain? Do the tissues feel their disintegration? In other words, what will happen to your consciousness? But (...) what is consciousness? Let's see. A conscious attempt to fall asleep is sure to produce insomnia, to try to... (shrink)

On the method of Saint Giovanni Bosco, 1815-1888, in guidance and counselling.

Russkiĭ kosmizm v poiskakh absoli︠u︡ta : paralleli i peresechenii︠a︡ v muzykalʹnom, poėticheskom i izobrazitelʹnom tborchestve 1910-1920-kh godov -- Liki Moderna -- Putʹ k modernu : Georgiĭ Lʹvovich Katuar -- Stilʹ modern v tvorchestve Frederika Diliusa : kont︠s︡ert dli︠a︡ fortepiano s orkestrom do minor -- Stilʹ modern i tvorchestvo Bely Bartoka (na primere opery "Zamok gert︠s︡oga Sini︠a︡i︠a︡ Boroda") -- Frit︠s︡ Kreĭsler i stilʹ modern -- Klod Debi︠u︡ssi i Moris Ravelʹ : muzyka dli︠a︡ arfy -- Klod Debi︠u︡ssi : dvenadt︠s︡atʹ ėti︠u︡dov dli︠a︡ fortepiano (...) : ot ėkzersisa do installi︠a︡t︠s︡ii -- O dikhotomii "muzhskogo" i "zhenskogo" v Pi︠a︡toĭ sonate A.N. Skri︠a︡bina (na primere motivnoĭ metriki) -- Pod znakom moderna : A.N. Skri︠a︡bin i S.S. Prokofʹev v 1913 godu -- Avangard i modern v retrospektive -- O proi︠a︡vlenii︠a︡kh "modernizma" v ispolnitelʹskom iskusstve : F. Buzoni, M. I︠U︡dina, G. Gulʹd -- Sudʹba providt︠s︡a : fortepiannai︠a︡ muzyka Ėrika Sati v sovremennom akademicheskom muzykalʹnom mire -- Otgoloski ėpokhi modern : o nekotorykh smyslovykh osobennosti︠a︡kh sovremennykh fortepiannykh sochineniĭ (Ė. Denisov, S. Slonimskiĭ, G. Zaĭt︠s︡ev) -- Zapadnye pianisty - ispolniteli russkogo avangarda pervoĭ volny : Sh. Shleĭermakher, Kh. Khenk, M.-A. Amlen -- Muzyka k filʹmu "Kabinet doktora Kaligari" : mezhdu tvorcheskoĭ rekonstrukt︠s︡ieĭ i istoricheskoĭ imitat︠s︡ieĭ -- Podvodi︠a︡ itogi -- "Pozdniĭ modernizm" v muzyke kont︠s︡a XX - nachala XXI veka : nekotorye nabli︠u︡denii︠a︡ -- Po sledam konferent︠s︡ii "Ot moderna k futurizmu" (virtualʹnai︠a︡ beseda za kruglym stolom). (shrink)

Hegel’s basic position so far on the various meanings of evil as necessary and thereby intelligible directly in the development of spirit might be summed up as follows. Evil is always a necessary moment of instability which gives impetus in the movement from various meanings of particularity to various meanings of universality; from the more abstract expression of potential unity and truth to the more actualized notion and unity.

Not everyone agreed with Barker when he wrote those words. Few students of the Politics would agree with him today. Disagreement comes from different sides. On one hand--the "rights" hand, one might call it--Karl Popper argued in 1945 in The Open Society and its Enemies that Aristotle's essentialism was less interesting than Platonism but equally congenial to modern totalitarianism. On the other hand--call it the "anti-rights" hand --scholars such as Alasdair MacIntyre and the legal historian Michel Villey would have it (...) that the whole modern conception of rights, especially human or natural rights, is a pernicious fabrication of the Enlightenment, with roots going back no further than the similarly pernicious nominalism of William of Ockham. As far as the current consensus is concerned, then, whether one favors rights or not, and whether one admires Aristotle or not, there are no rights--or at least no individual natural rights--in Aristotle. (shrink)