scholarly journals The rotating universe (philosophical understanding)

2016 ◽  
Vol 5 (2) ◽  
pp. 131
Author(s):  
V. V. Demidchenko ◽  
V. I. Demidchenko
Keyword(s):  
Rotating Universe ◽  
Philosophical Understanding

The Philosopher's Progress: C.S. Lewis' Intellectual Journey from Atheism to Theism

2018 ◽  
Vol 8 (2) ◽  
pp. 103-143
Author(s):  
Norbert Feinendegen
Keyword(s):  
Christian Faith ◽  
Philosophical Position ◽  
Absolute Idealism ◽  
Intellectual Journey ◽  
Philosophical Progress ◽  
Philosophical Understanding

Although Lewis describes his intellectual journey to the Christian faith in Surprised by Joy and The Pilgrim's Regress, the actual steps of his progress from Atheism to Theism are still a matter of controversy. Based on Lewis' letters, his diary All My Road Before Me and recently published sources (in particular ‘Early Prose Joy’), this paper gives an outline of the main steps of Lewis' philosophical progress during the 1920s. The first part sketches the five main stages Materialism, Realism, Absolute Idealism, Subjective Idealism, and Theism, and submits a proposal for their dating. The second part describes these stages in greater detail and discusses the reasons that urged Lewis to adopt a new philosophical position at a particular time. It will become apparent that a thorough philosophical understanding of these stages is an indispensable prerequisite for any serious effort to establish a chronology of Lewis' intellectual progress during these years.

The Philosophical Understanding of eSports

2018 ◽  
Vol 57 (5) ◽  
pp. 29-47
Author(s):  
Sang-Ho Lee ◽  
Ok-Chul Hwang
Keyword(s):  
Philosophical Understanding

Attentional Engines

2020 ◽  
Author(s):  
William P. Seeley
Keyword(s):  
Interdisciplinary Research ◽  
Perceptual Experience ◽  
Abstract Objects ◽  
Cognitive Systems ◽  
Musical Expression ◽  
Broad Base ◽  
The Arts ◽  
Perceptual Psychology ◽  
Unique Source ◽  
Philosophical Understanding

What is it about art that can be so captivating? How is it that we find value in these often odd and abstract objects and events that we call artworks? My proposal is that artworks are attentional engines. They are artifacts that have been intentionally designed to direct attention to critical stylistic features that reveal their point, purpose, or meaning. My suggestion is that there is a lot that we can learn about art from interdisciplinary research focused on our perceptual engagement with artworks. These kinds of studies can reveal how we recognize artworks, how we differentiate them from other, more quotidian artifacts. In doing so they reveal how artworks function as a unique source of value. Our interactions with artworks draw on a broad base of shared artistic and cultural constitutive of different categories of art. Cognitive systems integrate this information into our experience of art, guiding attention, and shaping what we perceive. Our understanding and appreciation of artworks is therefore carried in our perceptual experience of them. Teasing out how this works can contribute valuable information to our philosophical understanding of art. Attentional Engines explores this interdisciplinary strategy for understanding art. It articulates a cognitivist theory of art grounded in perceptual psychology and the neuroscience attention and demonstrates its application to a range of puzzles in the philosophy of the arts, including questions about the nature of depiction, the role played by metakinesis in dance appreciation, the nature of musical expression, and the power of movies.

Grand Illusion

2020 ◽  
Author(s):  
Gabriela Cruz
Keyword(s):  
Karl Marx ◽  
Walter Benjamin ◽  
Richard Wagner ◽  
Giuseppe Verdi ◽  
Theodor Adorno ◽  
Tristan Und Isolde ◽  
Giacomo Meyerbeer ◽  
History Of ◽  
Grand Opera ◽  
Philosophical Understanding

Grand Illusion is a new history of grand opera as an art of illusion facilitated by the introduction of gaslight illumination at the Académie Royale de Musique (Paris) in the 1820s. It contends that gas lighting and the technologies of illusion used in the theater after the 1820s spurred the development of a new lyrical art, attentive to the conditions of darkness and radiance, and inspired by the model of phantasmagoria. Karl Marx, Walter Benjamin, and Theodor Adorno have used the concept of phantasmagoria to arrive at a philosophical understanding of modern life as total spectacle, in which the appearance of things supplants their reality. The book argues that the Académie became an early laboratory for this historical process of commodification, for the transformation of opera into an audio-visual spectacle delivering dream-like images. It shows that this transformation began in Paris and then defined opera after the mid-century. In the hands of Giacomo Meyerbeer (Robert le diable, L’Africaine), Richard Wagner (Der fliegende Holländer, Lohengrin, and Tristan und Isolde), and Giuseppe Verdi (Aida), opera became an expanded form of phantasmagoria.

Spinoza’s Ethics

2018 ◽  
Author(s):  
Don Garrett
Keyword(s):  
Introductory Overview ◽  
Mind And Body ◽  
Philosophical Understanding

This chapter provides an introductory overview of Spinoza’s philosophy as expressed in his Ethics. It includes descriptions and analyses of his “rationalist” approach to philosophical understanding; his monistic substance/mode metaphysics and his naturalistic pantheism; his necessitarian account of the parallelism and identity between mind and body; his theory of the emotions and the universal striving for self-preservation; his ethical doctrines as expressed in propositions about virtue, reason, freedom, and the good; and his conceptions of blessedness, intellectual love, and the mind’s eternity. In doing so, it shows how each of these elements depends logically on those that come before it in the Ethics.

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