ABSTRACTThe article opens with a discussion of recent theoretical and methodological innovations in the field of comparative philosophy. In this regard, I propose and explain a new possible method of contrasting particular aspects of divergent philosophical texts or discourses and denote it as a ‘philosophy of sublation’. Then, the paper provides a concrete example for such a post-comparative method of reasoning, I will try to apply a ‘sublation philosophy’ approach for a reinterpretation of certain aspects of the complex philosophical intersections (...) between modern Japanese and Chinese philosophies through the lens of a contrastive analysis of Nishida Kitarō’s and Mou Zongsan’s dialectical thought. In this way, I hope to shed some new light upon some general questions regarding different models of dialectics. (shrink)

In this essay, I investigate Kitarō Nishida's characterization of what he refers to as the 'self-contradictory' body. First, I clarify the conceptual relation between the self-contradictory body and Nishida's notion of 'acting-intuition'. I next look at Nishida's analysis of acting-intuition and the self-contradictory body as it pertains to our personal, sensorimotor engagement with the world and things in it, as well as to our bodily immersion within the intersubjective and social world. Along the way, I argue that Nishida develops a (...) rich and exceedingly current way of thinking through different facets of embodiment and interpersonal relatedness. I further argue that Nishida's work provides compelling reasons to foreground the mutually implicative, co-emergent nature of embodied self and world in our theorizing about the nature of self and experience. (shrink)

The verb κενόω means ‘to empty’ and St. Paul uses the word ἐκένωσεν writing that ‘Jesus made himself nothing’ and ‘emptied himself’. Śūnyatā is a Buddhist concept most commonly translated as emptiness, nothingness, or nonsubstantiality. An important kenosis–śūnyatā discussion was sparked by Abe Masao’s paper ‘Kenotic God and Dynamic Śūnyatā’. I confront the kenosis–śūnyatā theme with Vattimo’s kenosis-based philosophy of religion. For Vattimo, kenosis refers to ‘secularization’: when strong structures such as the essence and the fulfilment of the Christian message (...) are weakened. Parallels between Abe’s and Vattimo’s thought will be demonstrated with regard to themes current in East–West comparative philosophy: reality and emptiness, the overcoming of metaphysics, the position of the Self, the human and the divine, and the relationship between science and religion. The latter point is particularly timely because since the 1990s religious fundamentalism has pushed forward a curio.. (shrink)

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...) to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion - I have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understandings, historical human self-understandings which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy. (shrink)

Co jest większe, bycie czy nic? Anzelm dowodzi istnienia Boga przy pomocy nihil. Bóg jako to, od czego nic większego nie może zostać pomyślane przez skończony umysł. Właściwe dla Anzelma logiczne – i być może mistyczne – użycie słowa „nic” domaga się porównania z negatywną ontologią Heideggera i jej recepcją w ramach tzw. Szkoły z Kioto założonej przez Nishidę. Czyż jednak pustka buddyzmu zen nie odsyła nas do – niewypowiedzianej – boskiej obecności?