Charles Darwin’s theory of evolution characterized all life as engaged in a “struggle for existence”. To struggle requires internal data processing to detect and interpret patterns to guide behavior, a mechanism to struggle for existence. The cognitive bootstrapping A-PR cycle (Autonomy | Pattern Recognition) couples the origin of life and mind, enabling their symbiotic co-evolution. Life processes energy to create order. Mind processes data to create meaning. Life and mind co-evolve toward increased functional effectiveness, using A-PR feedback cycles that reflect (...) the two Laws deduced from Ockham’s Razor. The Law of Parsimony is only one of two laws that have emerged from debate about Ockham’s Razor. Less well known is the “other edge of Ockham’s Razor”, the Law of Succinctness which, when viewed through the lens of Charles Darwin’s theory of evolution, enables the A-PR Hypothesis to fulfill the criteria of Ockham’s Razor. (shrink)

El objeto de nuestro trabajo es analizar los testimonios que muestran la violencia contra los contribuyentes durante la recaudación de impuestos en Egipto romano del siglo I d.C. Con este propósito, dividiremos el estudio en dos partes. En la primera, indagaremos _De Specialibus Legibus_ 2.92-95 y 3.159-163 de Filón de Alejandría en relación con los edictos de los prefectos. Aquí examinaremos especialmente los métodos de tortura junto con las acciones vinculadas con los funcionarios de gobierno, como los ἐκλογισταί. En la (...) segunda, abordaremos los papiros e inscripciones que presentan pedidos o denuncias de particulares afectados por la violencia de los recaudadores y sus subordinados. Esto nos permitirá revisar no solo cuáles fueron algunos de los eventos resultantes de los impuestos en el Egipto romano, sino también hasta qué punto los impuestos forzosos afectaron la economía local. (shrink)

Arte e "pre-mondo" : l'opera di Cézanne e la fenomenologia secondo Merleau-Ponty -- Tempo e parola : motivi proustiani in Phénoménologie de la perception -- Dicibilità del mondo e storicità di vita : espressione, verità, storia nel periodo intermedio del pensiero di Merleau-Ponty -- Alle radici stesse dell'essere : visibilità, natura e pittura nell'ultimo Merleau-Ponty -- Nessuno più di Proust : Le visible et l'invisible nello specchio della Recherche.

Au départ de cet ouvrage, une phrase de Martin Heidegger prononcée en 1958 à Aix-en-Provence : "J'ai trouvé ici le chemin de Paul Cézanne auquel, de son début jusqu'à sa fin, mon propre chemin de pensée correspond d'une certaine manière". Comprendre cette correspondance entre la pensée de Heidegger et la peinture de Cézanne suppose de comprendre quelle mutation la révolution phénoménologique du XX? siècle a fait subir à la pensée pour qu'un philosophe reconnaisse comme interlocuteur privilégié l'oeuvre d'un peintre et (...) non d'un autre philosophe. L'exposition du dialogue entre Heidegger et Cézanne est aussi une manière d'interroger l'originalité de la correspondance entre la révolution phénoménologique et l'art moderne. (shrink)

This book, the first comprehensive study in English of Heidegger's philosophy of art, starts in the mid-1930s with Heidegger's discussion of the Greek temple and his Hegelian declaration that a great artwork gathers together an entire culture in affirmative celebration of its foundational 'truth', and that, by this criterion, art in modernity is 'dead'. His subsequent work on Hölderlin, whom he later identified as the decisive influence on his mature philosophy, led him into a passionate engagement with the art of (...) Rilke, Ce;zanne, Klee and Zen Buddhism, liberating him not only from the overly restrictive conception of art of the mid-1930s but also from the disastrous politics of the period. Drawing on material hitherto unknown in the anglophone world, Young establishes a new account of Heidegger's philosophy of art and shows that his famous essay 'The Origin of the Work of Art' is its beginning, not its end. (shrink)

Merleau-Ponty's phenomenological ontology engages deeply with visual art, and this aspect of his work remains significant not only to philosophers, but also to artists, art theorists, and critics. Until recently, scholarly attention has been focused on the artists he himself was inspired by and wrote about, chiefly Cézanne, Klee, Matisse, and Rodin. Merleau-Ponty at the Gallery expands and shifts the focus to address a range of artists (Giorgio Morandi, Kiki Smith, Cy Twombly, Joan Mitchell, and Ellsworth Kelly) whose work came (...) to prominence in the second half of the twentieth century and thus primarily after the philosopher's death. Véronique M. Fóti does not confine her analyses to Merleau-Ponty's texts (which now importantly include his late lecture courses), but also engages directly with the art. Of particular concern to her is the art's ethical bearing, especially as related to animal and vegetal life. The book's concluding chapter addresses the still-widespread rejection of beauty as an aesthetic value. (shrink)

In Merleau-Ponty and Nishida, Adam Loughnane initiates a dialogue between two of the twentieth century's most important phenomenologists from the Eastern and Western philosophical worlds. Loughnane guides the reader through the complexities and innovations of Nishida's and Merleau-Ponty's theories of artistic expression and their rarely explored concepts of faith. The intricacies of both philosophers' views are illuminated by analyses of artists, including Cézanne, Sesshū, Rodin, Hasegawa, and other major figures of European, Chinese, and Japanese art history, who enact a radical (...) form of expression that Loughnane calls the practice of "motor-perceptual faith." He argues that the artist's motor-perceptual body, as poetically articulated in Nishida's and Merleau-Ponty's early works, enacts a form of faith that can be parsed in the final writings of both philosophers. The concept of faith is enlarged through its enactment by the artist, while the concept of artistic expression is broadened by casting it as a motor-perceptual conception of faith. Merleau-Ponty and Nishida is an exciting new intercultural reading of these philosophers' writings that opens up under-explored areas of their projects. It forms an important conceptual bridge between the two, while challenging distinctions between art, philosophy, and religion, and ultimately philosophy East and West. (shrink)

Sünnî usulcülere göre sahih olan haber-i vahid zan ifade etmekle birlikte, böyle bir haberle amel etmek naklî ve kat’î delillerin bir gereği olarak vaciptir. Şiî-Usûlî geleneğin temsilcilerinden Şerif Murtazâ ise haber-i vâhidle amel etmenin aklen caiz olduğunu, ancak bunun dinî açıdan vacip olmadığını iddia etmiştir. Ona göre Kur’an, mütevâtir haber ve masum imamın dâhil olduğu icmâ kesin bilgi kaynağı olduğundan bağlayıcıdır. Haber-i vâhid ise zann ifade etmektedir. Böyle bir haberle amel etmeyi gerektiren naklî kat’î bir delil ise bulunmamaktadır. Bu (...) nedenle haber-i vâhid amelî konularda hüccet değildir. Şerif Murtazâ, Sünnî usulcülerin haber-i vâhidin hüccet olduğuna dair naklî kat’î delillerini eleştirmiş, usulcüler ise bu eleştirilere cevap vermişlerdir. Araştırmamız Şiî-Usûlî geleneğin haber-i vâhide yaklaşım evreninden Şerif Murtazâ örneğini ele almayı ve Sünnî usulcülerin görüşleriyle mukayese etmek suretiyle değerlendirmeyi hedeflemektedir. Şerif Murtazâ’nın âhâd haber konusundaki yaklaşımı özü itibarıyla masum imam teolojisine dayanmakta-dır. Araştırmada masum imam teolojisinin ve haber-i vâhidle amel etmeyi gerektiren kat’î bir delilin bulunmadığı iddiasının nas, icmâ, tevâtür ve makul açısından vakıaya aykırı tutarsız bir görüş olduğu tespit edilmiştir. (shrink)

Braiding together strands of literary, phenomenological and art historical reflection, Modernism and Phenomenology explores the ways in which modernist writers and artists return us to wonder before the world. Taking such wonder as the motive for phenomenology itself, and challenging extant views of modernism that uphold a mind-world opposition rooted in Cartesian thought, the book considers the work of modernists who, far from presenting perfect, finished models for life and the self, embrace raw and semi-chaotic experience. Close readings of works (...) by Paul Cézanne, Gertrude Stein, Franz Kafka, Gerard Manley Hopkins, Wallace Stevens, Paul Klee, and Virginia Woolf explore how modernist texts and artworks display a deep-rooted openness to the world that turns us into "perpetual beginners." Pushing back against ideas of modernism as fragmentation or groundlessness, Mildenberg argues that this openness is less a sign of powerlessness and deferred meaning than of the very provisionality of experience. (shrink)

Lao Tseu, Blanchot et Merleau-Ponty proposent, chacun à sa manière, une lecture singulière de l'acte de nomination. Si, pour Merleau-Ponty, la langue fabrique du sens, pour Lao Tseu, elle va au-delà des significations que les mots portent pour s'abimer dans l'impossibilité d'affirmer. Et c'est à travers les méandres du langage que Blanchot rencontre Lao Tseu. Le "Parler peu est se conformer à la nature" de Lao Tseu interpelle le "la nature est à l'intérieur - de Cézanne que Merleau-Ponty réinterprète sans (...) cesse. Ce dialogue hors du temps questionne le langage comme parole plurielle. L'intention de cet ouvrage est de proposer des pistes jamais entrevues entre la philosophie du Tao et l'acte de nomination de la tradition occidentale."--Page 4 of cover. (shrink)

There is a prevailing opinion that conjectural knowledge (zann) cannot be taken as a basis in determining the fundamental theological principles among the theologians. However, from which sources and how to obtain certainty (yaqīn) and which types of knowledge are definitive (qat‘ī) have been discussed extensively. Certain and conjectural knowledge meet at a common point in terms of relying on evidence. Conjectural knowledge obtained via reasoning and/or religious scripture that do not express certainty. While conjectural knowledge has been essentially (...) related to the concepts of estimation, doubt, belief and knowledge, by its in term of value, it is stands closer to the concepts of knowledge and belief. Conjectural knowledge contains different degrees of certainty. When it is chosen to be more certain, it is considered as a valid conjecture, when it is disregarded, it is considered as erroneous conjecture. If there is no choice for its certainty, then it is called doubt (shakk). If the information/judgment obtained through reasoning becomes fixed, unchangeable and in a coherence that does not allow it to be otherwise, then it is called definitive (qat‘ī) knowledge. To achieve that, theologians generally used methods of argumentations like syllogism, induction, exhaustive investigation and disjunction (al-sabr wa’l-taqsīm) to provide such knowledge about divinity and prophethood. Theologians have used conjectural knowledge, which are based on endoxic (mashhūrāt), already granted (musallamāt) and acceptance of authority (maqbūlāt), in their dialectics to persuade their discussants, rather than to justify the fundamental theological issues of religion. While theologians mostly use rational proofs in theological issues, they also gave significant place to the scriptural narrative that determines the creed. In this context, theologians accepted the narrated evidence as binding and decisive, as long as it is certain in terms of both authenticity and implication. Ultimately, the fundamental theological principles of religion are based on these narrative evidences. Although the theologians do not accept single reports (khabar al-wahid) for their questionable authenticity, they also made inferences regarding subjects of traditions (sam‘iyyāt). Acting from this perspective, theologians tried to justify with narrative evidence rather than rational arguments on these issues such as torment in grave, intercession (shafā‘ah) and sirât, which are mostly matters of eschatology and the unseen (ghayb). Finally, it has been concluded that the conjectural knowledge is still valid in some secondary theological issues and the assumption that the conjectural knowledge has no deduction value in theology is not absolute. (shrink)

Prehistory is an invention of the later nineteenth century. It was in this moment of technological progress and the acceleration of production and circulation, that three major Western narratives about time took shape. One after another, these new fields of inquiry delved into the obscure immensity of the past: first, to reckon the age of the Earth; second, to find a point of emergence of human beings; and third, to ponder the age of art. Maria Stavrinaki's Transfixed by Prehistory considers (...) the inseparability of these accounts of temporality from the disruptive forces of modernity. She asks what a history of modernity and its art would look like if it was considered through these three, at once consecutive and interwoven, inventions of the longue durée? This book attempts to articulate such a history, which turns out to be more complex than that of an inevitable march of progress leading up to the "Anthropocene." Rather, it's a history of stupor, defamiliarization, regressive acceleration and incessant invention, since the "new" was also found in the deep sediments of the Earth. Composed as much of speed as of slowness, as much of change as of deep time, as much of confidence as of skepticism and doubt, modernity is a complex phenomenon that needs to be thought again. This book focuses on this intrinsic tension through major artistic practices (Cézanne, Matisse, De Chirico, Ernst, Picasso, Dubuffet, Smithson, Morris, and contemporary artists such as Pierre Huyghe and Thomas Hirschhorn), philosophical discourses (Bataille, Blumenberg, and Jünger) and the human sciences. This groundbreaking book will attract readers interested in the intersections of art history, anthropology, psychoanalysis, mythology, geology, and archaeology. (shrink)

Prehistory is an invention of the later nineteenth century. It was in this moment of technological progress and the acceleration of production and circulation, that three major Western narratives about time took shape. One after another, these new fields of inquiry delved into the obscure immensity of the past: first, to reckon the age of the Earth; second, to find a point of emergence of human beings; and third, to ponder the age of art. Maria Stavrinaki's Transfixed by Prehistory considers (...) the inseparability of these accounts of temporality from the disruptive forces of modernity. She asks what a history of modernity and its art would look like if it was considered through these three, at once consecutive and interwoven, inventions of the longue durée? This book attempts to articulate such a history, which turns out to be more complex than that of an inevitable march of progress leading up to the "Anthropocene." Rather, it's a history of stupor, defamiliarization, regressive acceleration and incessant invention, since the "new" was also found in the deep sediments of the Earth. Composed as much of speed as of slowness, as much of change as of deep time, as much of confidence as of skepticism and doubt, modernity is a complex phenomenon that needs to be thought again. This book focuses on this intrinsic tension through major artistic practices (Cézanne, Matisse, De Chirico, Ernst, Picasso, Dubuffet, Smithson, Morris, and contemporary artists such as Pierre Huyghe and Thomas Hirschhorn), philosophical discourses (Bataille, Blumenberg, and Jünger) and the human sciences. This groundbreaking book will attract readers interested in the intersections of art history, anthropology, psychoanalysis, mythology, geology, and archaeology. (shrink)

The University of Michigan conference “Where Religion, Policy, and Bioethics Meet: An Interdisciplinary Conference on Islamic Bioethics and End-of-Life Care” in April 2011 addressed the issue of brain death as the prototype for a discourse that would reflect the emergence of Islamic bioethics as a formal field of study. In considering the issue of brain death, various Muslim legal experts have raised concerns over the lack of certainty in the scientific criteria as applied to the definition and diagnosis of brain (...) death by the medical community. In contrast, the medical community at large has not required absolute certainty in its process, but has sought to eliminate doubt through cumulative diagnostic modalities and supportive scientific evidence. This has recently become a principal model, with increased interest in data analysis and evidence-based medicine with the intent to analyze and ultimately improve outcomes. Islamic law has also long employed a systematic methodology with the goal of eliminating doubt from rulings regarding the question of certainty. While ample criticism of the scientific criteria of brain death (Harvard criteria) by traditional legal sources now exists, an analysis of the legal process in assessing brain death, geared toward informing the clinician’s perspective on the issue, is lacking. In this article, we explore the role of certainty in the diagnostic modalities used to establish diagnoses of brain death in current medical practice. We further examine the Islamic jurisprudential approach vis-à-vis the concept of certainty (yaqīn). Finally, we contrast the two at times divergent philosophies and consider what each perspective may contribute to the global discourse on brain death, understanding that the interdependence that exists between the theological, juridical, ethical, and medical/scientific fields necessitates an open discussion and active collaboration between all parties. We hope that this article serves to continue the discourse that was successfully begun by this initial interdisciplinary endeavor at the University of Michigan. (shrink)

Mimesis and the portrayal of reflective life in action : Aristotle's Poetics and Sophocles' Oedipus the King -- The portrayal of reflective life in action in poetry : Shakespeare's dramatization of the poet in Sonnets 1-126 -- The portrayal of reflective life in action in music : Bach's Prelude and Fugue in B flat minor (The Well-Tempered Clavier, Book 1) and Beethoven's String Quartet in A minor, opus 132 -- The portrayal of reflective life in action in painting : discovery (...) of the inner life of sensory perception in watercolours by Turner and oil paintings by Cézanne. (shrink)