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The general bases of Schelling's "positive philosophy" are examined. Particular attention is paid to the problem of "positive" and "negative" philosophy contact in the theory of the thinker.
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The emergence and expansion of a gamification concept calls out questions of its meaning and the ontology of phenomena it contains. The article’s point of departure lies in reflection that gamification is simultaneously a kind of entity and a tool of cognition. In this article the author, following Johann Huizinga’s classical approach, a ributes the category of play/game to culture and examines it in terms of cognition. He consequently describes cognitive concepts of realism and nominalism, Kantian turn towards the „critical philosophy”, and Hilary Putnam’s „internal realism”. They are basic criteria that delineate the ontological status of culture and its attributes. According to Roger Caillois, the play/game or ludus differs from non-ludus because of the six „fundamental rules”: a) it is free, not obligatory, b) it is separate from the routine of life and occurs in its own time and space, c) it is uncertain, so that the results of play cannot be pre-determined, d) it is unproductive in that it creates no wealth and ends as it begins, e) it is governed by rules that suspend ordinary laws and behaviour and that must be followed by players, f) it involves make-believe that confirms for players the existence of imagined realities that may be set against „real life”. Disruptions of the „fundamental rules” lead to manipulation and deception, they ruin the play/game, instigate conflicts, destroy trust, and eventually they corrupt social bonds and open gates for social anomy. Gamification is a strategy that uses tools of reification and mystifica on, blends the orders of a conventional world of play/game with reality and destroys their principal rules. The way to prevent the process of destruction may be looked for in the domain of moral or ethical criteria, which can be found beyond the domain of the ludus.
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The article analyzes and characterises the cultural and ontological aspects of the music therapy. Features of the modern music therapy in the context of the semantic foundations of the intentional period of European culture incipience are analyzed. Besides the development of various forms of healing, modern music therapy promotes the development of ontological foundations of musical art, its role and functions in certain periods of a particular culture and cultural being of mankind in general.
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The article is concerned with – the progression of significant notion of the common good as a fundamental category of ethics in the dimension of interpersonal relations which create social and cultural space for the human's being.
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An article dedicated to specific situation in musical thought, notably to usage of accident or non-systemic impulse for its cultivation by means of some music system or for creating new system. There are three types of accident absorption in music: filtration, interpretation and reflection of accident. Technical, aesthetic and ontological possibilities of researched phenomenon are also marked.
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In this paper I try to discover a common thread which links issues discussed by various authors that may at first glance have little commerce with one another. The authors deal with different relations to reality that, I argue, inform our everydayness and technologies that permeat it. I consider the ontological issue of the real to be the unifying notion. Also, a tendency to disavow the human-centered stance on both theoretical and practical terms alongside abolishing the distance between man, or culture, and nature is apparent. The notion that technology does not have to be exploitative or destructive seems to also be an outcome of the mentioned shift in ontological terms. Our everyday dealings can be informed by notions that avoid dualisms such as different forms of anthropocentrism versus realism.
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In this article the twofoldness of Heidegger’s treatment of modern technology is presented. Firstly, it is shown that one can trace the line of thinking on modern technology from the earliest to the latest of Heidegger’s thinking periods. Though Heidegger claimed that it was firstly the task to understand the essence of modern technology that concerned him, it is still possible to discern basic trends of treatment or evaluation of modern technology in his thinking. On the one hand, the Heideggerian critique of modern technoscientific revelation of reality is presented: Heidegger stressed not only the negative practical consequences of technology as ecological crisis but also ontological ones as the disappearance of the experience of Being itself. The program of the overcoming of technology is presented as well as some examples of the alternatives. On the other hand, the positive or appropriative treatment of modern technology is presented. The fragmentary suggestions that it is precisely the modern technological revealing of reality that prepares the way for the authentic experience of Being are developed by connecting them with early Heidegger’s claim that it is the basic experience of production that forms the conceptual horizon of Western culture. The possibility that this line of Heideggerian thinking might help to understand and articulate such important phenomena of current technoscientific condition as synthetic biology is mentioned.
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The article attemps to ponder the ontology of use. The utilitarian attitude which is essential to our time – whether seeking after use is appreciated or downgraded – is based on the ontology of the subject. We need to retrieve the authentic meaning of use by dint of switching from the ontology of the subject to the ontology of the Dasein. As is always the case in Heideggerian thought, the historical dimension is important. The turn to ontology relates to hearkening to the Greek and pre-Socratic sources of ontology. Here we shall interpret Heideggerian thinking about the ontological utterance which is probably the first one in the West – that of the only remaining fragment of Anaximander. Therein use reveals itself as the name of Being. We demonstrate how the structures which were formulated in Being and time are found in reflection over the beginning of Western ontology.
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This article analyses the worldview paradigm of Jean Paul Sartre and its relevance for the contemporary society. The article not only reminds the reader of the postulates of existential philosophy, but it also examines them in the context of time. The structure of J. P. Sartre’s concept of humanism is presented herein. Though humanism may be a universal category, in the thought of J. P. Sartre humanism contains his unique contribution. J. P. Sartre enthrones the human being by attributing freedom to the human. The human has possibilities to choose and must assume responsibility for the consequences. This freedom causes a great deal of anxiety, inevitably leaving the human alone – only with the opportunity, within the limits of his subjective capacity, to decide on the most important matter, himself. It is argued that the tendencies of philosophic discourse and the reality of development of society at this stage of evolution of mankind are such that humanism can be discovered and recognised only in contemplating J. P. Sartre’s existentialism. The relevance of Jean Paul Sartre is illustrated by the being of society. Society and the human being will inevitably try to escape the despair of subjectivity and by raising ontological issues, issues of universality of being.
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Kitsch is analyzed in terms of intentional existence of the culture. The emergence and development of kitsch is treated as one of the characteristic features of historical and metahistorical existence of culture in the context of its extensive development. Ontological perspective is grounded concerning this phenomenon (kitsch) that is built by comparison of the semantic signs of the fourth art form (G. Hegel), of the fourth period of culture (O. Spengler), of the cultural characteristics of cultural existence in its final – intentional – period of development (O. Opanasiuk).
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The theoretical aspects of conceptualisation of national cultural space are investigated. The methodological problems of forming of space national are illuminated in the modern public cultural policy of Ukraine.
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Determined position of Ukrainian folk art, folklore in particular heteronomnomu social space culture. A demarcation line between modernity and tradition, clarified and systematized ontological characteristics of folklore as a special reality. Read us folk culture arsenal of mass culture. There are new content and specific aspects of folk art in the realities of today.
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In this research, the researcher tries to elicit opinions of Ibn Khaldun about the individual needs for education-teacher and the teaching profession. Relevant documents have been reached primarily through literature review, and then they were analyzed through document analysis and content analysis. According to Ibn Khaldun, education and teacher are necessities for human being by virtue of various reasons. Teacher’s qualification in his/her field and ability to teach are factors that determine student success. Therefore, taking each science and art from their best teachers is counted as effectual fulcrum in everywhere and in all communities. Also, taking courses from a great number of teachers is another factor that determines student success. Education activities and teaching profession were not institutionalized at first and they were not accepted as an art that requires specialty. When numbers of Muslim countries started to spread and extend; when events started to increase and overlap, necessity of bringing out provision from verses of the Quran increased and while those provisions were being brought out, laws and rules which would protect from mistake started to be needed, then education activities started to become specialty.
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The article deals with the problem of practice in conceptions of western European and native philosophical school. On this basis the notion "culture practice'" is grounded which can be considered as a separate kind of practical human activities and as common model of culture creative activities functioning.
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In this article, I propose a new interpretation of Hayden White's Metahistory. Instead of treating it as a classical text on historical narrativity, I argue that Metahistory should be read as an inquiry into ‘metahistorical prefigurations', that is, into the moral and ontological presuppositions underlying historical writing. I demonstrate that White's tropes, plots, formal arguments and ideological implications did not primarily refer to linguistic features of historical texts, but to the (metaphysical) views historians hold regarding the nature, goal and purposes of the historical process. Characteristically, only the introduction and the conclusion to Metahistory dealt with ‘narrative prose discourses'; the larger part of the book focused on what Tocqueville, Burckhardt, Croce and others thought about the nature of historical reality and the moral duties of those who study it. Though there is no reason to question that White has made important contributions to what is called the ‘narrativist turn', I argue that Metahistory is seriously misrepresented if it is only regarded as the flagship of narrativism.
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The idea of sheltering first emerged out of the need of protection against environmental factors and allowed humans to ensure their survival within a shelter. The purest form of this idea can be seen in cabins. Although the cabin structure designs were used in the professional design and construction disciplines, they do not have a complete description nor an accurate evaluation in the architectural literature when looked at from a theoretical perspective. As a type of architectural structure, it is necessary to define their boundaries, as well as defining their potential in the spatial creation and transformation of said spaces. The aim of the study is to investigate the historical trace of the cabins in the current literature by defining the meanings of the cabin structures and their purpose of use during the time of their emergence and to define them as a space creation tool in the field of architecture and thus to reveal the structural and spatial potential of this building type. In the study, firstly the definition of the cabin was made and the foundations and meanings of the ideas that led to the construction of these structures were examined. Afterwards, examples of cabins designed by important architects in order to create different spatial experiences were examined with a formal analysis. As a result of this research, the architectural and spatial value of the cabins in the field of architecture and the relationship between the important examples designed and the ontological features of the cabins were revealed.
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Diverse and extended philosophical approaches to the art cover also the ontological questions. There are plenty authors who are doing their research to explore the question on the nature of the existence of works of art. What is challenging on the existence of works of art? Artworks are basically things, but necessarily artifact, products of human intentional activity. But from the other point of view, they are just objects, sometimes strange, sometimes old, but (physical) objects. Nobody denies particular function and value of artworks. Nevertheless, this function and value of artworks is hidden in very interesting way. Someone who is not familiar to the work could miss artistic meaning of the work at all. Therefore, we can argue there are not explicit artistic properties in art. On the other hand, physical configuration of the artwork-object offers magnificent and enormous source of meaning, pleasure and content. But there are not other properties then physical. So, philosophers of art should explain how artworks exist in contrary to the nature existence of others entities or artifacts. The text examines the hypothesis of the physical object and R. Wollheim's arguments against this hypothesis. He put the robust argumentation in his famous ‘Art and its objects’. But, the core of the article is the reconstruction of P. Lamarque's approach. Lamarque in his book ‘Art & Object’ distinguishes two elements: work and object. He considers this as a key to explain how works of art exist. The object is considered to be a medium, and work is entity depending on cultural and institutional contexts. Lamarque argues that art occurs where there is specific cultural and institutional background and understanding of objects as works of art. Pure existence of object (physically similar to artwork) does not guarantee existence of artworks. Surprisingly, identical entity could be and could not be artwork in the same time. The difference is in the presence of absence of appropriate cultural and institutional contexts.
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Samuel Beckett (1906-1989) and Harold Pinter (1930-2008) have marked an entire epoch by their kindred worldviews and dramatic techniques, though these have undergone a transformation from their beginnings to their last plays. Their early plays can be used to illustrate the psychological state which R. D. Laing has called ’ontological insecurity’, characterized by the lack of identity resulting in fear and emptiness. In their last plays we can observe re-emergence of rudimentary identity and articulation of revolt.
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In this paper I defend the rejection of fatalism about the past by showing that there are possible circumstances in which it would be rational to attempt to bring about by our decisions and actions a necessary and sufficient condition, other things being equal, for something which we see as favorable to have occurred in the past. The examples I put forward are analogous to our attempts to bring about the occurrence of future events, and demonstrate the symmetry between the past and the future in this respect.
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