This article addresses the heritage of Grotius's concept of common goods as developed in his seminal work Mare liberum. This contribution identifies the basic tenets of Grotius's thinking on the nature of common property and identifies the relevance of these ideas for the present day management of global commons, i.e., the areas and natural resources beyond the limits of national jurisdiction. Successively, the article examines the regimes for: the deep seabed, the high seas, and marine mammals; outer space, particularly the (...) moon; the two polar regions; and the atmosphere, in particular the ozone layer and the climate system. The article demonstrates how some of the original tenets of Grotius's concept of res communis – in particular the idea of inexhaustibility – can no longer be upheld and how the freedom of access to the global commons has become increasingly qualified and supplemented, if not replaced by a new law of international co-operation aimed at conservation and sustainable use of natural wealth and resources beyond the limits of national jurisdiction. The global commons function as laboratories for the testing of new principles of international law and new forms of international co-operation, which can be said to clearly build upon the Grotian heritage. (shrink)

This article addresses the heritage of Grotius's concept of common goods as developed in his seminal work Mare liberum. This contribution identifies the basic tenets of Grotius's thinking on the nature of common property and identifies the relevance of these ideas for the present day management of global commons, i.e., the areas and natural resources beyond the limits of national jurisdiction. Successively, the article examines the regimes for: the deep seabed, the high seas, and marine mammals; outer space, particularly the (...) moon; the two polar regions; and the atmosphere, in particular the ozone layer and the climate system. The article demonstrates how some of the original tenets of Grotius's concept of res communis – in particular the idea of inexhaustibility – can no longer be upheld and how the freedom of access to the global commons has become increasingly qualified and supplemented, if not replaced by a new law of international co-operation aimed at conservation and sustainable use of natural wealth and resources beyond the limits of national jurisdiction. The global commons function as laboratories for the testing of new principles of international law and new forms of international co-operation, which can be said to clearly build upon the Grotian heritage. (shrink)

Much art is committed to political causes. However, does art contribute something unique to political discourse, or does it merely reflect the insights of political science and political philosophy? Here I argue for indispensability of art to political discourse by building on the debate about artistic cognitivism, the view that art is a source of knowledge. Different artforms, I suggest, make available specific epistemic resources, which allow audiences to overcome epistemic obstacles that obtain in a given ideological situation. My goal (...) is to offer a general model for identifying cognitive advantages for artworks belonging to distinct artforms and genres, in a way that can account for each artwork’s historical and cultural specificity. More speculatively, however, my account also comments on the ancient struggle between philosophy and the arts as competing modes of persuasion, and expands our notion of legitimate political discourse to include a greater plurality of discursive genres. (shrink)

_An exploration of the relationship between contemporary art, politics, and activism, Artists Remake the World introduces readers to the political ambitions of contemporary art in the early twenty-first century and puts forward a new, wide-ranging account of art’s political potential. Surveying such innovations as evidence-driven art, socially engaged art, and ecological art, the book explores how artists have attempted to offer bold solutions to the world’s problems. Vid Simoniti offers original perspectives on contemporary art and its capacity as a force (...) for political and social change. At its best, he argues, contemporary art allows us to imagine utopias and presents us with hard truths, which mainstream political discourse cannot yet articulate. Covering subjects such as climate change, social justice, and global inequality, Simoniti introduces the reader to a host of visionary contemporary artists from across the globe, including Ai Weiwei, Olafur Eliasson, Wangechi Mutu, Naomi Rincón Gallardo, and Hito Steyerl. Offering a philosophy of contemporary art as an experimental branch of politics, the book equips the reader with a new critical apparatus for thinking about political art today. (shrink)

This paper argues for a realist position in the metaphysics of aesthetic properties. Realist positions about aesthetic properties are few and far between, though sometimes developed by analogy to realism about colours. By contrast, my position is based on a disanalogy between aesthetic properties and colours. Unlike colours, aesthetic properties are perceived as relatively unsteady properties: as powers that objects have to cause a certain experience in the observer. Following on from this observation, I develop a realist account of aesthetic (...) properties as causally efficient powers, analogous to properties like fragility or poisonousness. To show how such a view can be made ontologically respectable, I draw on recent ‘dispositionalist’ accounts of powers in philosophical metaphysics. I then offer two arguments in favour of this view. First, the view matches the phenomenology of aesthetic judgement. Second, the view offers an explanation of how it is that critics can demand agreement with their aesthetic judgements. (shrink)

How can conceptual art contribute to political discourse? By the late 1960s, New York conceptual artists like Adrian Piper were faced with this difficult question. Conceptual artistic experiments seemed removed from the anti-war, anti-racist and feminist struggles, while personally many artists became increasingly involved in activism. I revisit the knotty relationship between art and politics through a close analysis of Piper's work in this period. Against the received view, I argue that Piper's early work was remarkably devoid of political concerns, (...) however, I also show how Piper’s later, anti-racist work, crucially derived from the rhetorical strategies, which she had developed earlier. Bridging art historical and philosophical approaches, this investigation culminates in a new philosophical view of the relationship between art and (anti-racist) political discourse: art emerges as a creative form of political rhetoric. (shrink)

The last twenty‐five years have seen a radical shift in the work of politically committed artists. No longer content to merely represent social reality, a new generation of artists has sought to change it, blending art with activism, social regeneration projects, and even violent political action. I assess how this form of contemporary art should lead us to rethink theories of artistic value and argue that these works make a convincing case for an often‐dismissed position, namely, the pragmatic view of (...) artistic value. However, the pragmatic view, when properly applied, sets the bar high indeed—art that tries to change society should be considered good art only when it succeeds in making a tangible difference. (shrink)

Critical discussion on definition of the work "Mithya" in the Advaitabrahamasiddhi of Madhusudanasarasvati.

What role do images play in philosophical persuasion? With the advent of bio-art in the 1990s, a new vista opened up for this age-old puzzle: the possibility of creating images through bioengineering of living matter. Here, I test the critical intentions of bio-artists by setting up a comparison between, on the one hand, bio-art, and on the other, bioethics, a philosophical discipline, which developed at around the same time as this new artform. I argue there is an aspect of ethics--'the (...) difficulty of reality' in Cora Diamond's coinage--which analytic bioethics obscures, and which art can help us come to terms with. I develop my argument by comparing the work of artists Eduardo Kac, Stelarc and Maja Smrekar, with utilitarian bioethics by philosophers like Julian Savulescu. Philosophical concepts of the living presence, the viral image and the pensive image are revisited through this inquiry. (shrink)

In Art Incorporated, you seek to debunk the myth of the artworld as autonomous of the market forces of global capitalism. Instead, you argue, works of art have become yet another commodity. However, one could say that works of art have always been commodities as well as objects of aesthetic appreciation. What makes the problem pertinent now, in the age of artists like Takashi Murakami, Jeff Koons and Damien Hirst?

Art, as discussed in the third book of Arthur Schopenhauer’s The World as Will and Representation, plays a double role in his philosophical system. On one hand, beholding an object of aesthetic worth provides the spectator with a temporary cessation of the otherwise incessant suffering that Schopenhauer takes life to be; on the other, art creates an epistemological bridge between ourselves and the world as it really is: unlike science which only studies relations between things, contemplation of art leads to (...) knowledge of that which is “alone really essential to the world, the true content of its phenomena.” (WWR1: 184) It is this second aspect of Schopenhauer's aesthetics that is both appealing and curious: while Schopenhauer's aesthetics and epistemology are both rooted in his picture of the world as Will, which is (taken at face value) deeply counter-intuitive, it yet seems to me that by assigning epistemic value to art, he manages to capture the quality of profundity with which certain works of art strike us – a profundity that is accounted for neither by reference to mere enjoyment nor by reference to paraphrasable, propositional knowledge. (shrink)

Works of literature represent stories, characters, and events: these are the contents of a work. Often, the contents of literary works are fictional; however, it is just as characteristic of works of literature that these contents are narrated in a distinct style of writing, in an author’s distinct literary “voice.” In this paper, I consider whether works of literature might represent something over and above their fictional contents in virtue of their style alone and what consequences this might have for (...) our thinking about aesthetic education. Both of these concerns—with what works of art represent and what kind of knowledge they make available to us—have been central to recent analytic philosophy of art. While I.. (shrink)

Hyperbaric oxygen (HBO) therapy still lacks proper interpretations of its many actions. This hypothesis is based on reports of temporarily elevated peripheral vascular resistance (PVR) during HBO sessions. Besides that, during HBO sessions, hyperoxygenated tissues can reduce their perfusion so much that CO2 can accumulate in them. Tissue perfusion depends on vascular innervation and on the balance between systemic constrictors and local dilators. During an HBO session, increased tissue oxygen levels suppress dilatory mechanisms. Tissue hyperoxygenation increases PVR, suggesting that the (...) HBO action on an edematous tissue may be caused by an oxygen‐induced disbalance among Starling capillary forces. The presented hypothesis is that oxygen‐caused arteriolar constriction reduces the hydrostatic pressure in downstream capillaries. Thus, more tissue fluid is absorbed in vascular capillaries, under the condition that the plasma colloid osmotic pressure remains unaltered during the HBO session. Among several known mechanisms behind the HBO actions, the vasoconstriction has been listed as a therapeutic modality for the reduction of the tissue edema, for a crush injury, for burns (in an acute phase), and for the compartment syndrome. The Bell's palsy is among often listed indications for the HBO treatment, although evidence is poor and reports of randomized trials are scarce. (shrink)

The story of Andy Warhol is in many ways a story of an outsider breaking into the mainstream. Born into a working class immigrant family, queer, poor, and deeply self-conscious about his appearance, Warhol turned his fortunes around to become not only a wildly successful artist in the 1960s but one of the era’s arbiters of taste. His best-known dictum was that ‘in the future, everyone will be world-famous for fifteen minutes’, although this was patently untrue of his own art. (...) Celebrities came and went, but his star shone for a long time and is now firmly fixed in the firmament of art history. (shrink)

Politychna sot︠s︡ializat︠s︡ii︠a︡: radi︠a︡nsʹka sim'i︠a︡ i radi︠a︡nsʹka shkola -- I︠A︡k navchalysi︠a︡ miz︠h︡narodnyky v stolyt︠s︡i URSR -- U "Sektori problem ideolohichnoï borotʹby": "Perebudova" v kraïni ta Instytut istoriï -- Vidnovlenni︠a︡ Mohyli︠a︡nky, hazeta "Denʹ" i staz︠h︡uvanni︠a︡ zakordonom -- 'Bahatoviktorna polityka": Pomarancheva revoli︠u︡t︠s︡ii︠a︡ i povernenni︠a︡ I︠A︡nukovycha -- I︠E︡vromaĭdan - Revoli︠u︡t︠s︡ii︠a︡ hidnosti -- Front i "hibrydna viĭna" v tylu -- Vyklyky transformat︠s︡iï ta "Zelena khvyli︠a︡": Shcho dali? -- Zamistʹ pisli︠a︡movy: optymizm vid Bohdana Horyni︠a︡.

Posty do druziv (cherez saĭt "Filosofii︠a︡ v Ukraïni) z sela Shevchenkovoho -- Buty i prahnuty -- Asymetrii︠a︡ butti︠a︡ -- Karl I︠A︡spers "Prosvitlenni︠a︡ ekzystent︠s︡iï. Dosvid prochytanni︠a︡ -- Peremyslyty vse.

Ne samo da Mediteranska filozofija pridonosi postanku i daljem razvoju svjetske filozofije, nego joj daje osnovni pečat. Kratka analiza glavnih sastojaka, kao što su: 1) grčko-judejska i latinska skolastika; 2) uloga magije i misticizma; 3) otvaranje znanstvenog interesa naročito od arapske skolastike; 4) povijesno vrijeme i čovjekova borba za sebe, od Renesanse sve do dvadesetog stoljeća, treba pokazati da je osnovni vid Mediteranske filozofije oplemenjivanje svijeta. Budućom zadaćom Mediteranske filozofije naznačit će se pronalaženje putova kako da se koncept mogućnosti, kao (...) njezina glavna tekovina u dvadesetom stoljeću, osigura u perspektivi oplemenjivanja svijeta – najvjerodostojnijoj perspektivi svjetske filozofije.Not only does Mediterranean philosophy contribute to the genesis and susequent development of world philosophy, but it also lends it its original stamp. A breaf analysis of elements such as: 1) Greco-Judean and Latin scholasticism; 2) the role of magic and misticism; 3) the stimulation of scientific interest especially in Arabic scholasticism; 4) in history of human beings the struggle for themselves from the Renaissance to the Twentieth Century should show, with a special emphasis on Croatian philosophers, that the basic conception of Mediterranean philosophy consists in enrichment of the world. Through futures tasks for Mediterranean philosophy it will be indicated how to find ways to secure the concept of possibility as the main currency in the perspective of enriching the world – a most authentic perspective for world philosophy. (shrink)

Iskusstvo kak vid znanii͡a -- Ėsteticheskie fragmenty -- Vnutrenni͡ai͡a forma slova.

I. Ókor -- II. A középkor és a reneszánsz -- III. Az újkor.

Vizantiĭsʹkyĭ neoplatonizm i︠a︡k predmet relihii︠e︡znavchoho ta istoryko-filosofsʹkoho doslidz︠h︡enni︠a︡ -- Formuvanni︠a︡ vizantiĭsʹkoho neoplatonizmu u tvorakh Ĭoana Filopona (Dionisii︠a︡ Areopahita) -- Filosofii︠a︡ butti︠a︡ Maksyma Spovidnyka--kulʹminat︠s︡ii︠a︡ rozvytku vizantiĭsʹkoho neoplatonizmu -- Vizantiĭsʹkyĭ neoplatonichnyĭ esent︠s︡ializm kint︠s︡i︠a︡ VII-pochatku XIV stolitʹ -- Palamizm i︠a︡k osoblyva forma vizantiĭsʹkoho neoplatonizmu.

On Syllogism as in Navya Nyāya philosophy with other schools of Hindu philosophy; with Sanskrit and Hindi commentary.

Contributed seminar papers on Hindu philosophy and the contribution of Rājeśvara Śāstri Drāviḍa, born 1899, Hindu scholars.

Classical commentary, with supercommentaries, on Jaimini's Mīmāṃsāsūtra, basic work of the Mīmāṃsā school in Hindu philosophy.