According to Eugenie Scott, methodological materialism---the view that science attempts to explain the world using material processes---does not imply philosophical materialism---the view that all that exists are material processes. Thus one can consistently be both a scientist and a theist. According to Phillip Johnson, however, methodological materialism presupposes philosophical materialism. Consequently, scientists are unable to see the cogency of supernatural explanations, like creationism. I argue that both Scott and Johnson are wrong: scientists are not limited to explaining tbe world using (...) material processes and science does not presuppose materialism. Thus scientists’ rejection of creationism is not irrational. (shrink)

An extensive literature about pictorial representation discusses what is involved when a two-dimensional image represents some specific object or type of object. A smaller literature addresses parallel issues in sculptural representation. But little has been said about the role played by the sculptural material itself in determining the meanings of the sculptural work. Appealing to Nelson Goodman and Catherine Elgin’s discussions of literal and metaphorical exemplification, I argue that the material of which a sculpture is constituted plays key roles in (...) what is represented and how it is represented, in part because we have bodily and emotional responses to the real possibilities the sculptural material creates for us. I discuss examples of contemporary artworks by Melvin Edwards, Kara Walker, Willie Cole, Marc Quinn, Ai Weiwei, Janine Antoni, El Anatsui, Zoe Leonard, and others. (shrink)

This book is a unique introductory overview of decision theory. It is completely non-technical, without a single formula in the book. Written in a crisp and clear style it succinctly covers the full range of philosophical issues of rationality and decision theory, including game theory, social choice theory, prisoner's dilemma and much else. The book aims to expand the scope and enrich the foundations of decision theory. By addressing such issues as ambivalence, inner conflict, and the constraints imposed upon us (...) by our attachments to others, Frederic Schick reveals that our thinking is often more subtle than standard theories of rationality allow. Only a theory that respects that subtlety can illumine what is otherwise puzzling. The book contains many examples drawn from history and literature dealing with subjects such as love, war, friendship, and crime. (shrink)

The theory of visual perception that Irvin Rock develops and supports in this book with numerous original experiments, views perception as the outcome of a process of unconscious inference, problem solving, and the building of structural descriptions of the external world.

This brief, affordable text helps students to think critically, using examples from the weird claims and beliefs that abound in our culture to demonstrate the sound evaluation of any claim. It explains step-by-step how to sort through reasons, evaluate evidence, and tell when a claim is likely to be true. The emphasis is neither on debunking nor on advocating specific assertions, but on explaining principles of critical thinking that enable readers to evaluate claims for themselves. The authors focus on types (...) of logical arguments and proofs, making How to Think about Weird Things a versatile supplement for logic, critical thinking, philosophy of science, or any other science appreciation courses. (shrink)

This study defends the legitimacy of the Enlightenment project by way of its different realizations in the philosophies of Immanuel Kant and Friedrich Heinrich Jacobi. Today, Enlightenment as a cosmopolitan project with a global claim is often considered synonymous with Western chauvinism. The assertion of a universally binding reason is all too obviously inconsistent with the much-cited recognition of cultural differences. In contrast, it is the conviction brought forward in this book that an adequately understood Enlightenment is an unconditional right (...) of every person taking an active interest in a self-determined way of life. Only the realization of this conception of Enlightenment can provide the required space for the reciprocal recognition of human differences to freely unfold. (shrink)

This paper has three objectives. First, I argue that apprehending an installation artwork is similar to apprehending an artwork for performance: in each case, audiences must recognize a relationship between the performance or display one encounters and the parameters expressed in the underlying work. Second, I consider whether realizations are also artworks in their own right. I argue that, in both installation art and performance, a particular realization is sometimes an artwork in its own right (even as it realizes another (...) work). I offer criteria for determining when this is the case. Application of the criteria yields the verdict that performances are sometimes artworks in their own right, while displays of installation artworks rarely are. This difference, though, is merely contingent on the conventions of the respective art forms. Third, I address ontological concerns about entities that are both abstract and temporal, as many artworks are on my analysis. (shrink)

On several current views, including those of Matthew Kieran, Gary Iseminger, Jerrold Levinson, and Noël Carroll, aesthetic appreciation or experience involves second-order awareness of one’s own mental processes. But what if it turns out that we don’t have introspective access to the processes by which our aesthetic responses are produced? I summarize several problems for introspective accounts that emerge from the psychological literature: aesthetic responses are affected by irrelevant conditions; they fail to be affected by relevant conditions; we are ignorant (...) of their causes and thus confabulate in explaining them; our attempts to offer explanations change our preferences; and the preferences we form after explanation are lower in quality. I suggest that by distinguishing introspective awareness of mental processes from introspective awareness of mental states, we can safeguard a worthwhile concept of aesthetic experience. In addition, we should recognize that theoretical, rather than introspective, understanding of our mental processes may play a valuable role in aesthetic appreciation. (shrink)

The culturally pervasive tendency to identify aspects of the body as aesthetically imperfect harms individuals and scaffolds injustice related to disability, race, gender, LGBTQ+ identities, and fatness. But abandoning the notion of imperfection may not respect people’s reasonable understandings of their own bodies. I examine the prospects for a practice of aesthetic assessment grounded in a notion of the body’s function. I argue that functional aesthetic assessment, to be respectful, requires understanding the body’s functions as complex, malleable, and determined by (...) the projects and interests of the person whose body it is. Aesthetically relevant functions, on this account, are determined neither by the body’s status as organism nor by cultural assumptions about how bodies should function or be used. (shrink)

Hilmi Omar Budda (1894-1952) has played a significant role in the process of institutionalization of History of Religions in Turkey. He, who was the first academician in the field of History of Religions in Turkey, lectured for many years in Dâru’l-Funûn (Ottoman University) Faculty of Divinity, which was found in 1924. Then he worked in department of Institute of Islamic Sciences, which was a branch of Istanbul University Faculty of Arts, by pursuing his same position and career. After that, Budda (...) lectured in Ankara University Faculty of Divinity, which was found in 1949, as the first academic person of the department of History of Religions. Budda, who wrote many scientific studies and trained a large number of students during his academic life roughly thirty years, filled a gap in the field of History of Religions in the early years of republic period. Even though there are some scientific problems in his writings and views on issues, this article deals with Budda’s contributions to the History of Religions and his role in the formation of such a discipline in Turkey. This study, besides, mentions about Budda’s academic sides by analyzing his scientific writings composed of books, articles and columns. (shrink)

The ability of videos to serve as evidence of racial injustice is complex and contested. This essay argues that scrutiny of the Black body has come to play a key role in how videos of police violence are mined for evidence, following a long history of racialized surveillance and attributions of threat and superhuman powers to Black bodies. Using videos to combat injustice requires incorporating humanizing narratives and cultivating resistant modes of looking.

This reference essay surveys recent work in the emerging sub-discipline of everyday aesthetics, which builds on the work of John Dewey to resist sharp distinctions between art and non-art domains and argue that aesthetic concepts are properly applied to ordinary domains of experience.

A number of physicists have recently been espousing what appears to be a strong form of subjective idealism. Clauser and Horne, professors of physics at Berkeley and Stonehill College, respectively, for example, report.

The modern republican history of Turkey and its relation with the question of ethnic diversity could be understood via the tension between the processes of system integration and social integration. This article, based on Jürgen Habermas’ conceptual framework, draws the sources of such tension with reference to the Kurdish identity in Turkey since the early republican era. For this purpose, from the 1920s to the 2000s, policies and discourses of system integration aiming at a certain degree of ethnic homogenization to (...) eliminate ‘possible threats’ to territorial integrity and national unity are discussed in detail. While system integration processes reflect an exclusionary and assimilative-securitist logic of state practices regarding the Kurdish question, this article argues that the Kurdish challenge to republicanism and to its system integration logic promises more for the dynamics of social integration. Especially since the 1990s, while processes of system integration are still in force; national, regional and diasporic achievements of Kurdish politics and its call for a democratic transformation of the republic based on decentralist, participatory and multiculturalist values have become much more visible. This new focus on democratic transformation demands more for social integration through internalization of roles as well as through promotion of an active communication between citizens by raising the claims of active participation to social and political spheres as well as by making identity visible in different aspects of socio-cultural life. Degree of social integration and its success vis-à-vis system integration will be decisive in the democratic transformation of Turkey in the future. (shrink)

This article is based on the question “How does the current governing party in Turkey, namely Justice and Development Party, reproduce its social power?” In order to answer this question, it is suggested that a combination of the different techniques of governmentality of the ruling party should be analyzed, with particular reference to the policies and institutions reconfiguring the role of the state and the notion of public deliberation in the midst of the rising discontents of neoliberalism in Turkey. As (...) an instance of such a technique of neoliberal governmentality in populist content, the formation of the communication centers by the AKP in Turkey will be investigated. For this purpose, firstly, the rise of the populism will be related to the increasing need for channels of political participation and a solution to public demands in the midst of rising authoritarian tendencies, in order to solve the political legitimacy crisis as well as creating new forms of represen... (shrink)

One of the basic issues of modern times is how to construct a nonviolent and peaceful society and achieve the goal of a one-world community that lives in peace and harmony. Islam and Mahatma Gandhi’s approaches, in this regard, are remarkable. Both share same aims about common ethical concepts such as nonviolent, compassion for all creation, freedom,justice, patience and tolerance. There are remarkable similarities between the ideas of Gandhi and teachings of Islam, particularly in the concepts of peace and nonviolence (...) are concerned. This article, thus, mentions about the concepts of peace and nonviolence (ahimsa) as propounded by them. It handles attributes of ahimsa and satyagraha such as “loving sinners and even your enemy”, “having no intention to harm others”, “rest on God”, “consistency of word and action”, which are held forth by Gandhi. Furthermore, this article deals with similarities of Gandhi’s teachings with “ehsan” (benevolence), “tavakol (trust in God), “al-niyyat” (intent) and “an-nasrha”(sincerity) in Islamic thought. (shrink)

I discuss two interrelated ways in which disgust functions in motherhood. First, relaxation of the mother’s sense of disgust allows her to nurture her child more effectively. Second, others’ responses of disgust are used to enforce social norms regarding the “good” mother. If the mother acquiesces, she must continually monitor and tidy her child, which may interfere with the child’s exploration of the world. If she does not, she is subject to ongoing signs that she is flawed or failing as (...) a mother. (shrink)

Companion animals -- Animals on factory farms -- Birds and marine wildlife -- Animals in research facilities -- Conclusion: Noah's task.

This reference essay addresses how sculpture may be defined, the nature of sculptural representation and content, the distinctive forms of tactile and bodily experience to which sculpture can give rise, and the ontology of sculpture. It addresses both sculptures whose form is largely fixed and contemporary sculptural practices incorporating found objects and variable presentation.

continent. 1.2 (2011): 141-144. This January, while preparing a new course, Robert Seydel was struck and killed by an unexpected heart attack. He was a critically under-appreciated artist and one of the most beloved and admired professors at Hampshire College. At the time of his passing, Seydel was on the brink of a major artistic and career milestone. His Book of Ruth was being prepared for publication by Siglio Press. His publisher describes the book as: “an alchemical assemblage that composes (...) the life of his alter ego, Ruth Greisman— spinster, Sunday painter, and friend to Joseph Cornell and Marcel Duchamp. Through collages, drawings, and journal entries from Ruth’s imagined life, Seydel invokes her interior world in novelistic rhythms.” This convergence of his professional triumph with the tragedy of his death makes now a particularly appropriate time to think about Robert Seydel and his work. This feature contains a selection of excerpts from Book of Ruth (courtesy of Siglio Press) alongside a pair of texts remembering him and giving critical and biographical insights into his art and his person. These texts, from a former student and a colleague respectively, were originally prepared for Seydel's memorial at Hampshire College and have since been revised for publication in continent. For more information on Book of Ruth, please visit the book's page at the Siglio Press website. —Ben Segal draughty R. * Lauren van Haaften-Schick 2011 “The most apt way to order Smithson's library is with the conjunction 'and'; science and religion; modernism and mass culture; what is present and what is missing.” —Alexander Alberro, 248 Robert Seydel's classes on collage and collecting immersed his students in a curious world of cabinets, oddities, exhaustive archives and obscure histories, explored always with critical rigor and a sincere eye for wonder. His office was a compendium of the ancient, mythic, potential and unworldy, where seemingly unrelated references were endlessly pulled, piled and fused in an ecstatic dance of hyper-annotation. The small room and all its contents overflowed with notes tucked in every margin and corner. Books coated the walls like a switchboard, anxious and humming, waiting for infinite links to be activated. William Blake's books of Job and Urizen summoned Greek mythology and the animal as metaphor, leading to 19th century cryptozoology and the cave paintings at Lascaux, Gaston Bachelard's description of the bird in his garden and Robert Rauschenberg's Canyon . Tracking archetypes and following tangential threads, new revelations and ancient narratives were compiled and ordered to form a new text, a bibliography as assemblage, portrait and poem. Robert's library—one of his many collections—is a portrait, an “artifact, collage of time, a token and remnant” (Seydel, 2007) He is humming with it still. The imagination of this room—of Robert—breathes through the pages of Book of Ruth, as every decision and detail unfolds to a cosmos. Allegory, invention, personal and art histories are entangled and leveled, rendering lived, perceived and absorbed experiences indistinguishable. Anonymous scraps discovered on the street or studio floor, careful clippings and drawn figures are chosen and animated through serendipitous destruction and whimsical, delicate positioning. A precise vocabulary of characters and terms erupts and collapses as personas and passers-by wave and whisper, “Every figure reveals aspects of the total form, which is open and green” (Seydel, 2007). The initials R.S. repeat, a nod to Robert's true family tree and further complicating identification. Robt, Robert's sometimes alter-ego, appears in myriad forms as a trickster “half-wit,” mercurial and skittish, or soft and worn thin. Saul is a solemn tinkerer, parsing the world and sometimes blind. Ruth, the speaker of the book, records and translates all, her voice wavering between poetic verse and a cryptic half-speech as complex as it is sparse. The rhythm of frayed edges sets time - the weight of the world and the lightness of paper. Robert wrote of his process, “Material is essential; scuffings carry history, which wanders throughout” (Seydel, 2007). Collectors, assemblers, sway between careful movements of selection and placement as they pull from the found world, mediating calculated and unconscious association to form a lexicon of gestures, symbols and allusion, the “artifacts of a life... the refuse and rejecta of days” (Seydel, 2007). These assembled fragments shift and chatter, at home in their homelessness, actors performing in their own lives, populating an invented world of similar orphans. Such accumulated, severed parts carry the injury of their cutting and retain the evidence of their source, binding loss to creation in a symbiosis of trauma and repair. Mourning and remembrance are deeply embedded in the histories and acts of such practices. Grievance, acceptance, and the fragility of life are conveyed in the 18th century allegorical arrangements of fetal specimens by Frederik Ruysch. A certain melancholy reverence colors Joseph Cornell's intimately tactile assemblages rendering the universe tangible in miniature, or made in devotion to unrequited loves. Preserved in stasis, these ghosts and idols are kept in a purgatory where fact and fiction, past and present are irrelevant distinctions. Catalogued and contained, the subject of loss is transferred to an artifact. Every thread, scrap and letter may be glued, gathered and placed in a museum, a tomb, a box, a page, ripe and open for possession. Holding on to grief and reveling in disrepair, we opt to be haunted. Forever unbalanced and in flux, the sublime of collage is its resolve to irresolution. For Robert, “Art, as creation and as sign of primary Imagination, is not objects but a state, a kind of fluid” (Seydel, 2007) Reflecting on his work, life, and death, I am drawn to my library and the myriad titles acquired through his inspiration. There is Daniel Spoerri's An Anecdoted Topography of Chance , Susan Stewart's On Longing , various Borges, Barthes, Perec, and especially Life: A User's Manual , which concludes that the perfect puzzle will have no solution. I think of the drawers of miscellaneous swallowed objects at the Mutter Museum, Ray Johnson coding the every day in riddles, Wallace Berman twisting tongues, and Susan Hiller laying every detail to bear. Collectors and makers working in endless cycles of observation, ingestion and display. Every gesture informs and is defined by others, every space is shaped by that which surrounds and fills it, the knot has an inner logic, the gigantic is not so different from the miniature, there is a world in every detail, and “All art is collage” (Seydel, 2011) These thoughts have molded my life, my art, and all the minutia that keep the two so profoundly intertwined; There is no difference between life and what we do with our time. “I write my life. I make me up.” What a gift to share this secret way of knowing the world, and to leave this knowledge for us to do with what we please. “Art begins in admiration” (Seydel, 2011) Lauren van Haaften-Schick is a curator, writer and artist based in New York. Upcoming curatorial projects include "Cancelled" at the Center for Book Arts, and "The Spirit of the Signal" at Nicole Klagsbrun Gallery, New York. Recent activities include the workshops "Market, Alternative" and "Alternative Art Economies" at Trade School and Momenta Art, and the e-flux Time/Store, New York. She is the founding director of two arts spaces in Northampton, MA and Philadelphia, PA. She received a BA in Art History and Studio Art from Hampshire college in 2006. Sura Levine on Robert Seydel If early on in his time at Hampshire College I was officially his “mentor,” Robert Seydel quickly became one of my great teachers. Over the years we talked about everything, from art, music, collage, and poetry, to campus politics, this latter far too often. It was always a sublime pleasure, if all too rarely done, to enter his apartment to look at his work in progress, to peruse his bookshelves where, inevitably, there were always new treats to examine. And, while he was working on his Book of Ruth , I was given the opportunity over the course of many meals at the Korean and other restaurants, to talk with him about image and poem ordering. To see how he thought through each comma, each juxtaposition across the gutters of the Book, was to watch a brilliant curator at work. Each day, I walk past his wonderful collaged portrait of Ruth, purchased, after much haggling, as a birthday present, a couple of years ago. And each day, I think how lucky I am to have known Robert as he produced this magnum opus. One of my greatest pleasures in 24 years at the College was to teach “The Collector” with Robert. One of my greatest regrets is that the magic we created together in the classroom will not, and cannot, be duplicated. Its various incarnations, its utter intelligence and magic, were all so deeply Robert’s. His was a mind that put poetry, philosophy, history of science, and history together with art, and art together with music. His intellect and eye were unparalleled. He introduced us to so many artists. He shared his fascination with the cabinets of curiosity of Aldrovandi, of Seba, and Peter the Great’s collection of fetal anomalies, as well as the Museum of Jurassic Technology in Los Angeles. Robert knew them all and so many more. He was a walking encyclopedia, his home a great archive. Arcane knowledge, perhaps, but oh so important for another of Robert’s heroes, the mid-20th century Belgian artist Marcel Broodthaers, whose name he invariably mispronounced as “Broadthayers.” In speaking his name, Robert would always look in my direction in a panic, and then he go on and maul it. I absolutely loved his various mispronunciations of French names and terms! “The Collector” was always filled with talented young artists, art historians, philosophers and writers who all came to understand the wondrous obsessions of the figure of the collector. Students in this course created dazzling projects each term. He always moved while looking and speaking. He read deeply, and commented on everyone’s work with wonderful generosity. Robert always found something to praise even in the least developed of projects. Robert inspired and mentored all of his students into making work that far exceeded their expectations—and ours. For those of you who were lucky enough to have been touched by or to have had an evaluation written by Robert, savor it, keep it, reread it, and share it. He loved working with you all; it is somehow fitting that he died while prepping yet another new course. Robert, it’s almost impossible to speak of you in the past tense, even though you left us a month ago. No doubt, if you knew about our gatherings and celebrations of you, you would be embarrassed that we are making a fuss over you; you always placed the focus on others rather than on yourself. This trait is exactly why so many people miss you now. We’re here to love you publicly as we all did privately for the eleven years you were among us. Robert, my very dear friend, you were an extraordinary artist—you were my brother of choice. My heart broke when yours did. I miss you profoundly. —Sura Levine, February 26, 2011 Sura Levine is a professor of art history at Hampshire College. Her field of specialty is 19th century Belgian and French art, particularly realism and impressionism. Having worked in museums for a number of years both prior to coming to the College, and, as guest curator and co-author of exhibition catalogues, she became particularly interested in the history of museum and trends in collecting. It was because of their shared interests that she and Robert Seydel developed their course, The Collector, which they co-taught for many years. (shrink)

Prophet (pbuh) has given notice that the Salah [prayer] is the first deed in which the Muslim servant will be brought to account on the Day of Judgement. The Prophet (pbuh) also informed that if the believer’s obligatory (fardh) prayers are lacking this will be made up from voluntary (nawafil) prayers and that the servant comes close to Allah by fulfilling obligatories and continues to draw near to him with voluntary deeds. One of nawafil is the prayer which is performed (...) before and after the obligatory Friday prayer. When we examine the Prophetic narrations about those prayers -which is also called the first and the second sunnah- and their authenticity, we witness that the Prophet (pbuh) performed prayers in differing raka’ah numbers after the obligatory Friday prayer and urged to it, but there is no authentic and clear traditon indicating that He (pbuh) perfomed any prayer before it. However, by taking into account some general statements of Prophet (pbuh), some weak narrations and some practices of companions it has been said that the Friday prayer has a sunnah before it and moreover it is a Sunnah Muakkadah (stressed sunnah) which is performed in two or four raka’ahs. This article aims to present the narrations about whether the Prophet (pbuh) and companions used to perform any prayers before and after the obligatory Juma’ prayer and their number of raka’s, to determine their authenticity and to evaluate them by reporting the comments about them. (shrink)

Death which is inevitably for every mortal is a sadness for those who are left behind is the cause of sırrrow. While some people reflect this sadness out-word as a tear some of them rebel against this through and cry out. -/- Some of them are traditionally reguired or lamenting as showy. For this reason it is inevitable to reveal the Position of the head of the head In İslam and the fact that it is not permissible to narrate it. (...) As a result of person who dies after A person who dies and sheds tears and silent or vocal crying like the lgnorant. -/- It’s not possible to say that, Permissible to cry after And that person sheds tears and tears. Because this situation is the essence of creation and work of mercy. The prophet Muhammad and Omar (d. 23/644), Fatima (d. 11/632), Ibn Mes’ud (d. 32/652-53), Ibn Omar (d. 73/692) Arecrying because of the death of their loved ones. However it’s understood that It’s not permissible to say the merits and beauty of the person who died from the narrations and to call the shocks of shouting and shouting. And it seen that, If a dead person is crying like that and affect and contribution of the dead person in it, He will see the punishment. This article aims to present to rumors that the prophet and some of companions had cried to their death relatives cried and cried forbidden behaviors and interpret and comment on the narrations about the punishment of the dead by the cry of alive and reveal the permissible and non-pemissible behaviors and forms of crying. (shrink)

Özet Hz. Peygamber’in her hâlini bizzat müşahede edecek kadar yakın ve Kur’ân’ın ilk muhatapları olan sahabe neslinin örnek hayatı ve ilmi kişilikleri hakkında çalışmak, bilgi edinmek, Kur’ân’ı ve Rasûlullah’ı doğru anlamanın temel yöntemini teşkil eder. Abdullah ibn Mes’ûd, ilmi yönden zengin birikime sahip ve yaşantısı bakımından farklı bir kişiliği vardır. Müslüman olduktan sonra Rasulullah’ın yanından hiç ayrılmayan, her türlü hizmetinde bulunan, öyleki ehl-i beytten fark edilmeyecek kadar O’na yakın olan İbn Mesʿud, aynı zamanda hemen hemen bütün savaşlarda Rasulullah’ın yanında bulunmaktan (...) geri durmayan diğer taraftan Resulullh’tan sonra da Kur’ân ve İslâm’a hizmet eden ve müslümanları eğiten bir muallimdir. Kur’ân-ı Kerîm’e ve Arapçaya olan vukûfiyeti, başta kıraat olmak üzere tefsir, hadis ve fıkıh ilmine dâir derin bilgisiyle öne çıkmış ve isim yapmış olan Abdullah ibn Mes’ûd Rasulullah’ın övgüsüne mazhar olmuş ashabın büyüklerindendir. Abdullah ibn Mes’ûd’un Kur’ân’ın nüzûlünün neredeyse tamamına şahit olması ve Peygamber’in yakınında bulunması, Kur’ân ve Kıraat ilimler açısından çok önemlidir. Abdullah İbn Mesʿud’un kıraatı iki gruptan oluşmaktadır. Birincisi hemen birçok kıraat-ı aşere imamının senetlerinde yer alan ve üzerinde ittifak edilen sahih kıraatler, ikincisi de müfessirlerin tefsirlerinde ele aldıkları ve tefsir kabilinden izahatları, dil bakımından istişhadda bulundukları, ihticac için kullandığı veya sadece müteradif olarak ele aldığı ifadeleridir. Bu çalışmada kıraatini bizzat Hz. Peygamber’den alan İbn Mes’ûd’un kıraat ilmini elde ettiği yol ve alanları irdelenmiştir. Özellikle onun Hz. Peygamber’den Kur’ân tâʿlimi, Allah Rasûlu ve Cebrail’in katılımıyla gerçekleşen Kur’ân’ın arzına katıldığını söylemesi, genelde İslâmî ilimlere özelde Kıraat’a yaptığı katkı, cem, istinsah ve Mushaflar konusundaki tutumu, ashâbın onun kıraati hakkındaki sözleri ve görüşleri gibi konuları incelenmeye çalışılmıştır. Sonuç olarak birçok ilim dalında söz sahibi olduğu gibi Kıraat ilminde de imam olan büyük sahabi Abdullah ibn Mesʿdun kıratinin mahiyeti hakkında bilgi verilmiştir. (shrink)

Abstrack In this study, the subject of preference, its conceptual field and its historical process, as well as the methods of determining and choosing different readings of mutawatir recitation imâms are discussed. The different phrasing of the Qur'an began from the revelation period of the revelation. It is seen that there were some discussions about the different readings of the Qur'an among the Companions in the early period, albeit a little. These different recitations of some of the Companions, who see (...) their own reading better or who are not aware of their friends' readings, are the Prophet's. The fact that they took them to the Prophet indicates this. As a matter of fact, Allah's command to "read whatever is easy from the Qur'an" (Muzzammil, 73/20) and the hadith of the Messenger of Allah "read whatever is easy from it", together with the different reading license, also implicate his preference. Arab tribes who used different dialects from the Quraysh dialect during the Medina period and those who converted to Islam from other non-Arab nations faced some difficulties in pronouncing and understanding the Qur'an, which was revealed in the Quraysh dialect. Wanting to solve this serious problem, Hz. Prophet was given the permission to read with seven letters, the differences in recitation began to be seen. The concepts of preference and elder refer to the practices of the imams of recitation in the process of creating their own recitations together with their proofs, which they chose from among the recitations of their predecessors. In the science of hujjat, the most used concepts, along with other concepts, are the concepts of old age, preference and need. Ihticaj is a concept that expresses choosing one among different recitations by citing evidences and proofs. As a matter of fact, when the works of the recitation scholars on this subject are examined, it is seen that the imâms made their choices by citing evidence from the Qur'an, Sunnah, Mushafs and language rules regarding the differences in recitation. In the science of recitation, some other concepts such as ulema, especially proof, and illet and evidence were also used. Whether it is the Qurra that stands out in the field of natural recitation, or the imams of mutawatir recitation, they have formed their preferences by bringing evidence from verses, sunnah, mushaf, saned and language in line with the criteria of sound recitation. (shrink)

Some writers have noted that valuation is often focused on foreseen changes. They say that we often don't value situations in terms of what we would have in them only but also in terms of the gains or losses that they offer us — that we then focus on departures from our status quo. They argue that such thinking conflicts with basic economic analysis, and also that it violates logic: they say that it is irrational. I agree that it seems (...) to be common. But is such a way of setting one's values a challenge to economics? And does it conflict with being rational? (shrink)

Levi’s work in decision theory has for many years been a major influence on the field. His writings have raised important new issues and opened new lines of inquiry. This collection of his papers brings out the range of his recent studies and the close bearing of his work on the work of others.

Artificial intelligence (AI) will drastically change the healthcare system. Radiology is one speciality that is most affected as AI algorithms are increasingly used in diagnostic imaging. AI‐enhanced health technologies will, inter alia, increase workflow efficiency, improve diagnostic accuracy, reduce healthcare‐related costs, and help alleviate medical personnel shortages in under‐resourced settings. However, the development of AI‐enhanced technologies in healthcare is fraught with legal, ethical, and human rights concerns. Currently, the use of AI in South African healthcare is not governed by sui (...) generis legislation or ethical guidance focused exclusively and specifically on AI, although various provisions and principles from law and ethics find application. This article outlines these normative principles and explains their relationship with the extant legal obligations and regulatory framework as applied to the use of AI in radiology services in South Africa. The article concludes with three key recommendations for radiology practitioners using AI in South Africa. These are the need for: vigilant monitoring of AI use in practice, reforms to the liability framework, and appropriate guidance from local regulators and the Health Professions Council of South Africa on the ethical use of AI. (shrink)