Don Garrett, Cognition and Commitment in Hume's Philosophy, New York and Oxford, Oxford University Press, 1997, pp. xiv + 270, Hb 40.00 ISBN 0-19-509721-1.

No prefácio das Obras póstumas de Espinosa, o inacabado Compêndio de gramática da língua hebraica é apresentado como um trabalho que, segundo a intenção do autor, quando concluída, assumiria a forma de uma exposição more geometrico da gramática hebraica. Nos estudos espinosanos, muitas vezes se buscou determinar o aspecto geométrico do trabalho, sobretudo em comparação com a Ética , ou então renegá-lo, afirmando a incongruência de aplicar-se tal método a um objeto, um idioma, inapreensível à geometria. A partir (...) da reconsideração desses argumentos e do estudo de algumas passagens do Compêndio , acreditamos ser possível concluir que a obra era realmente redigida como uma exposição geométrica da gramática hebraica, o que se revela especialmente pela presença de um movimento ordenado e dedutivo a comandar sua composição. (shrink)

German language. Michael Gottlieb Hansch (1683-1749) reprint. Deals with Leibnitz Metaphysik.

In Chapter II of his work The Philosophy of Spinoza, Wolfson accepts Descartes' distinction between the geometrical method of philosophizing and the geometrical form of literary exposition. The geometrical method of philosophizing is a method of demonstration and is essentially identical with “valid syllogistic reasoning as practised throughout the history of philosophy.” The geometrical form of literary exposition is one modelled after the literary form of Euclid's Elements. Wolfson proceeds to present two theses which serve as the premises of a (...) conclusion respecting the relation between form and content in Spinoza's Ethics. The first thesis is that as a consequence of Spinoza's “mathematical way of looking at things” the geometrical method “is adopted by Spinoza and used consistently in his discussions of metaphysical matters throughout his chief philosophic work.” The second thesis is to the effect that there is no logical connection between the geometrical method of philosophizing and the geometrical literary form of exposition, i.e., a geometrizing philosopher, e.g., Descartes, need not employ the geometrical literary form. From these theses, serving as premises, Wolfson concludes that “there is no logical connection between the substance of Spinoza's philosophy and the form in which it is written” and, hence, “his choice of the Euclidian geometrical form is to be explained on other grounds.” Wolfson proceeds to present four possible reasons which, either individually or conjointly, may lie behind Spinoza's employment of the geometrical literary form: on pedagogical grounds, in reaction against certain literary forms which had developed since the Renaissance, to avoid arguing against his opponents, and for the sake of novelty. (shrink)

In Chapter II of his work The Philosophy of Spinoza, Wolfson accepts Descartes' distinction between the geometrical method of philosophizing and the geometrical form of literary exposition. The geometrical method of philosophizing is a method of demonstration and is essentially identical with “valid syllogistic reasoning as practised throughout the history of philosophy.” The geometrical form of literary exposition is one modelled after the literary form of Euclid's Elements. Wolfson proceeds to present two theses which serve as the premises of a (...) conclusion respecting the relation between form and content in Spinoza's Ethics. The first thesis is that as a consequence of Spinoza's “mathematical way of looking at things” the geometrical method “is adopted by Spinoza and used consistently in his discussions of metaphysical matters throughout his chief philosophic work.” The second thesis is to the effect that there is no logical connection between the geometrical method of philosophizing and the geometrical literary form of exposition, i.e., a geometrizing philosopher, e.g., Descartes, need not employ the geometrical literary form. From these theses, serving as premises, Wolfson concludes that “there is no logical connection between the substance of Spinoza's philosophy and the form in which it is written” and, hence, “his choice of the Euclidian geometrical form is to be explained on other grounds.” Wolfson proceeds to present four possible reasons which, either individually or conjointly, may lie behind Spinoza's employment of the geometrical literary form: on pedagogical grounds, in reaction against certain literary forms which had developed since the Renaissance, to avoid arguing against his opponents, and for the sake of novelty. (shrink)

Writing in French, the author points to Arnold Geulincx to explain the historical shift in the concepts of philosophic method and first principles. Geulincx' Methodus made use of the synthetic or expositive method, which Descartes had regarded as inferior to his own analytic one, but which he had employed, upon request, in Reply to Objections II. Spinoza, presumably inspired by Geulincx' example, was later to claim demonstrativeness for the mos geometricus.--W. L. M.

La aversión de los renacentistas por el método silogístico les hizo experimentarnuevas formas literarias más “estéticas” que sirvieron a menudo paraencubrir la falta de cualquier especie de lógica o de razonamiento. El usodel método geométrico sería la respuesta de los filósofos del siglo XVII aesta falta de lógica y de razonamiento. Tal parece ser, en efecto, el caso deDescartes quien borró “la lengua de la Escuela y el estilo de la Escuela” ydecretó la universalidad del método matemático. Con todo, según (...) Spinoza,Descartes ni logró sustraerse a la férula escolástica, ya que heredó de lasespeculaciones teológicas medievales, ni alcanzó liberarse del todo delórganon aristotélico. (shrink)

In this article I explore certain modeling in Aristotle's zoological work. In particular, I am interested in the type of theoretical schemes in which Aristotle does not claim anatomical or physiological precision because they refer to more than one genus of animals or their parts or activities. On the one hand, I analyse the triaxial scheme of the faculties of animals in the De Incessu Animalium 4, in which the dimensions are defined not by their position but by a (...) function. On the other hand, I examine the diagram of the De Motu Animalium 9, in which Aristotle concludes that the material middle of the animal, the heart, cannot originate simultaneous movements, so there must be something that moves without being moved. I believe that this model also distinguishes its elements not by their positions but their functions. The geometric terms assigned in each case account for certain functions of animals, presenting a double value of the analogy: between the animal domain and the geometric one, and granting the necessary generality to capture the similarity between different genus within the animal domain itself. (shrink)

Stefan Sorgner (2009) says that on becoming familiar with transhumanism, he “immediately thought that there were many fundamental similarities between transhumanism and Nietzsche’s philosophy, especially concerning the concept of the posthuman and that of Nietzsche’s overhuman.” In contrast to Bostrom (2005), Sorgner sees significant and fundamental similarities between the posthuman and the overhuman. (I will adopt his use of “overhuman” in place of “overman” or Übermensch.) This overall view seems to me highly plausible. I agree with most of Sorgner’s comments (...) in this respect. My intent is to give further support to the conceptual parallels. In addition, I argue that these are not merely parallels: transhumanist ideas were directly influenced by Nietzsche. (shrink)

Selections from the philosophical writings of More: The antidote against atheism.--The immortality of the soul.--Enchiridion metaphysicum.

pt. 1. Chapters 1-10 and 27-28 -- pt. 2. Chapters 11-26.

_“This translation offers a fresh and vital encounter with Thomas More’s _Utopia_ for a twenty-first century audience.”—Elizabeth McCutcheon, _Utopian Studies__ Saint Thomas More’s _Utopia_ is one of the most important works of European humanism and serves as a key text in survey courses on Western intellectual history, the Renaissance, political theory, and many other subjects. In _Utopia_, More introduces the mysterious traveler Raphael Hythloday, who tells of an island nation that he considers the most perfectly organized and (...) harmonious in the world. Preeminent More scholar Clarence H. Miller does justice to the full range of More’s rhetoric in this masterful translation. In an Afterword to this edition, Jerry Harp contextualizes More’s life and _Utopia_ within the wider frames of European humanism and the Renaissance. (shrink)

Nietzsche's Ecce Homo was published posthumously in 1908, eight years after his death, and has been variously described ever since as useless, mad, or merely inscrutable. Against this backdrop, Nicholas D. More provides the first complete and compelling analysis of the work, and argues that this so-called autobiography is instead a satire. This form enables Nietzsche to belittle bad philosophy by comic means, attempt reconciliation with his painful past, review and unify his disparate works, insulate himself with humor from (...) the danger of 'looking into abysses', and establish wisdom as a special kind of 'good taste'. After showing how to read this much-maligned book, More argues that Ecce Homo presents the best example of Nietzsche making sense of his own intellectual life, and that its unique and complex parody of traditional philosophy makes a powerful case for reading Nietzsche as a philosophical satirist across his corpus. (shrink)

This book tells the story of seven new letters from Sir Thomas More to Frans van Cranevelt that were discovered among a bundle of letters that were auctioned in London in 1989, part of the private archive of Cranevelt. The letters span the years 1519–1522.

This edition will include all of More's extant works. Each volume will be edited by a specialist in the field of Renaissance studies and will include a comprehensive introduction. Latin texts will be accompanied by a facing English translation.

Two algebraic structures, the contrapositionally complemented Heyting algebra (ccHa) and the contrapositionally |$\vee $| complemented Heyting algebra (c|$\vee $|cHa), are studied. The salient feature of these algebras is that there are two negations, one intuitionistic and another minimal in nature, along with a condition connecting the two operators. Properties of these algebras are discussed, examples are given and comparisons are made with relevant algebras. Intuitionistic Logic with Minimal Negation (ILM) corresponding to ccHas and its extension |${\textrm {ILM}}$|-|${\vee }$| for c|$\vee (...) $|cHas are then investigated. Besides its relations with intuitionistic and minimal logics, ILM is observed to be related to Peirce’s logic and Vakarelov’s logic MIN. With a focus on properties of the two negations, relational semantics for ILM and |${\textrm {ILM}}$|-|${\vee }$| are obtained with respect to four classes of frames, and inter-translations between the classes preserving truth and validity are provided. ILM and |${\textrm {ILM}}$|-|${\vee }$| are shown to have the finite model property with respect to these classes of frames and proved to be decidable. Extracting features of the two negations in the algebras, a further investigation is made, following logical studies of negations that define the operators independently of the binary operator of implication. Using Dunn’s logical framework for the purpose, two logics |$K_{im}$| and |$K_{im-{\vee }}$| are discussed, where the language does not include implication. The |$K_{im}$|-algebras are reducts of ccHas and are different from relevant algebraic structures having two negations. The negations in the |$K_{im}$|-algebras and |$K_{im-{\vee }}$|-algebras are shown to occupy distinct positions in an enhanced form of Dunn’s kite of negations. Relational semantics for |$K_{im}$| and |$K_{im-{\vee }}$| is provided by a class of frames that are based on Dunn’s compatibility frames. It is observed that this class coincides with one of the four classes giving the relational semantics for ILM and |${\textrm {ILM}}$|-|${\vee }$|⁠. (shrink)

To write of “the” philosophy of transhumanism is a little daring. The growth of transhumanism as a movement and philosophy means that differing perspectives on it have formed.

The article proposes Logic of Secrets in Collaboration Networks, a formal logical system for reasoning about a set of secrets established over a fixed configuration of communication channels. The system’s key feature, a multi-channel relation called independence, is a generalization of a two-channel relation known in the literature as nondeducibility. The main result is the completeness of the proposed system with respect to a semantics of secrets.

In this important new book, leading Black philosopher Mabogo More reflects on his life and career in apartheid South African. The book explores Africana existentialism in relation to issues of race, identity, liberation, freedom, alienation, responsibility and bad faith and includes key essays from More's corpus alongside his philosophical memoir.

Wootton's translation brings out the liveliness of More's work and offers an accurate and reliable version of a masterpiece of social theory. His edition is further distinguished by the inclusion of a translation of Erasmus's 'The Sileni of Alcibiades,' a work very close in sentiment to Utopia, and one immensely influential in the sixteenth century. This attractive combination suits the edition especially well for use in Renaissance and Reformation courses as well as as for Western Civilization survey courses. Wootton’s (...) Introduction simultaneously provides a remarkably useful guide to anyone’s first reading of More’s mysterious work and advances an original argument on the origins and purposes of Utopia which no one interested in sixteenth-century social theory will want to miss. (shrink)

The chapter outlines Nietzsche's view of decadence, its history and effects. The philosopher held decadence to be any condition, deceptively thought good, which limits what something or someone can be. This concept informs his critical and affirmative projects, acting as a versatile tool to identify and overcome his own decadence and to resist the decadence of Western culture. Decadence appears in five major areas of concern to Nietzsche: physiology; psychology; art and artists; politics; and philosophy. Physical and mental phenomena provide (...) the substrate of his understanding, but they manifest in cultural, political, and philosophical forms that, in turn, affect the body and mind. In each of the five areas, the concept of decadence for Nietzsche serves 1) to unmask valued cultural phenomena as corrupt, 2) to name and analyze degenerate effects, and 3) to spur reflection on how to respond. (shrink)

October 14, 2007: Studying how a broker's brain works. swissinfo. "To help maintain its competitive edge, the Swiss banking industry is investing heavily in financial engineering. Its latest recruit is economist Peter Bossaerts. swissinfo talked to Bossaerts, a leading expert in neuroeconomics – the study of how we make financial choices - about his recent appointment as professor at the Federal Institute of Technology in Lausanne.... swissinfo: So what exactly is neuroeconomics? Peter Bossaerts: It's a mixture of decisional theory - (...) mathematical theories applied in risk-based decision-making - and neuroscience.... Neurofinance, therefore, tries to understand how choices are made in a risky world. It looks closely at the workings of the brain while taking into account human emotions.... swissinfo: What is the aim of your work? P.B.: Firstly, to make progress on how people make choices when dealing with risk.... Neuroeconomics should also help improve decisional theory, which doesn't work in the real world where rules are vague and probabilities are unknown. The aim is to build up artificial intelligence based on a theory where decision-making is repeated." >>> Neuroscience, Cognitive Science, Finance & Investing, Applications. (shrink)