The text offers a reappraisal of Walter Benjamin’s Theses on the Philosophy of History from the perspective of global politics today and its similarities with the socio-economic and political situation in Europe and the Americas during the 1920s and 30s; more specifically, the impact of crises on the erosion of trust in liberal representative democracy and the concomitant rise of mostly rightwing populist movements and their strongmen leaders, aided to a significant degree by the media, ‘old’ and ‘new’ alike. The (...) purpose of the text is to draw lessons from Benjamin’s vision of materialist historiography for our current political predicament. (shrink)

This paper analyses the formation of power of the Christian regime of truth in the context of Foucault’s concept of strategic formations. The main emphasis is on the sexual formation of power in three focal points of its agency. The first focal point is formed around the conflict between the Old Testament truth regime and the Canaan cult of fertility. The second focal point is formed around the influence of ancient philosophical thought, primarily through the philosophy of stoicism, which sees (...) abstinence from the sexual act as an opening to divine inspiration and around medical knowledge of antiquity. The third focal point is formed around control mechanisms of the Christian regime of truth through classification, regulation, prohibition, tariffing offences and corrections of doctrine. The main purpose of the formation of power is the vertical structuring of the regime of truth in its anthropomorphic and androcentric immanence. (shrink)

In paper [5] it was shown that a great part of model theory of logic with the generalized quantifier Q x = there exist uncountably many x is reducible to the model theory of first order logic with an extra binary relation symbol. In this paper we consider when the quantifier Q x can be syntactically defined in a first order theory T. That problem was raised by Kosta Doen when he asked if the quantifier Q x can be eliminated (...) in Peano arithmetic. We answer that question fully in this paper. (shrink)

Autor u tekstu kritički analizira Berdjajevljevu filozofiju stvaralaštva, iz cjelovitosti njegove filozofske misli, s posebnim naglaskom na odnosu sa slobodom. Započinje svoje ispitivanjem uvođenjem u egzistencijalnost autorova promišljanja teme i iznošenjem temeljnih pojmova. Potom slijedi istraživanje metafizičko-antropoloških temelja čovjekove sposobnosti za istinsko stvaranje. Kako ne bi bilo zabune oko naravi ljudskog stvaralaštva iz ‘meonske’ slobode, razjašnjena je bitna distinkcija između ljudskog i Božjeg stvaranja. Analizira se teurgija, kao specifičan oblik ljudskog stvaralaštva i način nadilaženja tragedije stvaralaštva. Kritički se ispituje struktura (...) čovjekova stvaralaštva, kao odnos čovjeka stvaraoca i svijeta. Konačno se nudi osnova za jednu buduću filozofiju čovjeka zasnovanu na ideji stvaralaštva.This article critically analyses Berdiaev’s philosophy of creativity in integrity of his philosophi­cal thought, with special emphasis on relation between creativity and freedom. The author be­gins his investigation with introduction in existentiality of Berdiaev’s analysis of the topic andwith explanation of fundamental concepts. Then follows investigation of metaphysical-anthro­pological foundations of human ability for genuine creativity. To avoid misunderstandings con­cerning nature of human creativity from ‘meonic freedom’, essential difference between humanand God’s creativity is explained. The article also analyses theurgy as specific form of humancreativity and a way to surpass tragedy of creativity. Structure of man’s creativity is criticallyanalysed as relation between man the creator and the world. Finally, it is offered a groundworkfor one future philosophy of man based on the idea of creativity. (shrink)

The main themes and aims of this book are understanding aesthetics, contemporary art and the end of the avant-garde not from the traditional viewpoint of the metaphysics of the beautiful and the sublime but rather thru close connection to the techno-genesis of virtual worlds. This book tackles problems in contemporary art theory such as the body in space and time of digital technologies, along with other issues in visual studies and image science. Further intentions exhibit the fundamental reasons for the (...) disappearance of the picture in the era of virtual reality starting from the notion of contemporary art as realized iconoclasm; art has no world for its "image". The author argues that the iconoclasm of contemporary art has severe consequences. This text appeals to philosophers of art and those interested in contemporary art theory. (shrink)

The paper establishes a correlation between nihilism and history from the premise of the end of metaphysics in the age of the technosphere. In presenting the genealogy of the postmodern turn in contemporary philosophical thinking, the author critically deals with Vattimo’s thesis that Heidegger’s notion of overcoming metaphysics is the key to understanding postmodernity. Despite its close proximity to Nietzsche and Heidegger, it is undeniable that the main notion must be derived from late Wittgenstein’s thinking, as Lyotard did in his (...) analysis of the “postmodern condition”. It is a notion of “language games” that introduces into consideration the relationship between the pragmatics of knowledge, the performativity of language and the event horizon. In this way, it will be shown that postmodernity cannot be any “new” epoch but rather a re-actualization of the condition determined by the rule of technoscience, cybernetics and plural patterns of culture in post-industrial society. Based on his previous analyses of this problem, collected in the books The Postmodern Game of the World, Identity Politics, The Posthuman Condition, and Technosphere I–V, the author believes that only extensive analysis and interpretation of Lyotard’s premises allows one to reach the right philosophical path to the answer to the question of the essence of nihilism in the face of Being, and the technosphere as computation, planning, and construction of the inhuman. In contemporary times, what is left of postmodernity is neither “telling stories” about the stylistic tendencies of the modern and neomodern, the avant-garde and the neo-avant-garde, nor, moreso, the conflict of the universality and particularity of society and culture. All that remains is the feature of the unwavering “fate” of this nihilism of the technosphere: from the postmodern condition to the posthuman condition, thought is confronted with the challenge of an event that goes beyond anything seen in the history of Western metaphysics. When the image precedes the language and the writing to speaking, we find ourselves in a closed circle of turns and reversals of metaphysics. It is time to step out of this “vicious circle” in which the living becomes non-living, the Being becomes the information, the system of objects replaces society, and the human-too-human with inhuman as such. (shrink)

In Deleuzeʼs studies on film, it is striking that the dismantled “essence” of metaphysics as an ontology is synthetically linked with a new approach not only to the movement of the concept, speaking in Hegelʼs language but also to the thinking as an event. That is even more true for the understanding of that which lasts in time and thus has the character of the thought-image. As the author points out in this article, Deleuze establishes this by turning the brain (...) into a screen, and the film from the sphere of the so-called reality becomes the virtual code of the world as an image. The difference between concept and image eliminates the difference between the image no longer preceding the term and the term no longer preceding the image. How crucial this turn will be to Deleuzeʼs notion of the cinema can be seen in the derivation of the concept of an event. The image and term correspond to the singularity of the event. The problem with comprehending Deleuzeʼs “images-ontology” shows that film cannot be reduced to the autonomous production of a cinematic way of thinking unless we have previously clarified what movement is and how it is created. In this paradigmatic case, a cinema cannot be viewed simply as a “visual code” of contemporary art. Its “essence” is revealed in that it enables the image-movement and image-time to synthetically realize the possibilities of the technosphere as computation, planning and construction. Eventually, the cinematic thinking advocated by Deleuze becomes a question of the possibility of film as a meta-film reaching a new level of philosophical consideration of what becomes and emerges with a new set of relations between Being and event. (shrink)

The author analyzes the politics of responsive interculturalism in Bernhard Waldenfels? thought, starting from the assumption that after Husserl?s phenomenology only two fundamental concepts - body and the Other - should be considered. In contemporary German?post-phenomenology? the first concept was systematically articulated by Hermann Schmitz, while the latter theme has been advanced in Waldenfels? works as the phenomenology of the alien, up until the end of Western metaphysics. In the two parts of the discussion, the author draws on his fundamental (...) hypothesis about aporias and paradoxes of interculturalism, since responsiveness and xenology cannot reach the positive definition of the concept of culture in the era of global entropy. The analysis, therefore, deals with the questions: what is the responsiveness of man in relation to the Other, including the different ways of his presence in the world; and whether the Other as alien and uncanny calls into question the basic assumption of phenomenology as such - the intentionality of consciousness? nema. (shrink)

A topological class logic is an infinitary logic formed by combining a first-order logic with the quantifier symbols O and C. The meaning of a formula closed by quantifier O is that the set defined by the formula is open. Similarly, a formula closed by quantifier C means that the set is closed. The corresponding models are a topological class spaces introduced by Ćirić and Mijajlović (Math Bakanica 1990). The completeness theorem is proved.

U opisima razvoja zbivanja u prirodi od trenutka prapraska koriste se pojmovi ‘energija’ i ‘materija’. Sustavnosno, tim opisima nedostaje treća sastavnica svakog sustava – informacija. To je potaklo pitanje gdje je u tim opisima informacija i prethodi li možda ona energiji. U raščlambi je upotrijebljena opća sustavnosna teorija, jedna moćna metoda suvremene znanosti. Za opis opće tehnike , od prapraska do konačne točke , upotrijebljen je vlastiti koncept koji se temelji na dvije misli: tehnika nije ništa posebno već sasvim općenito (...) i fraktalno podrijetlo Prirode . Ustanovljeno je da u opisima nedostaju odgovori na pitanje o podrijetlu informacijskog sustava čije djelovanje započinje prapraskom. Taj informacijski ulaz dijeli se u naredbu i podatke. Uz pomoć filozofskih spoznaja, među ostalim Platona, Aristotela i Tome Akvinskog, zaključilo se da je netko morao izraditi prirodne zakone koji su u obliku informacije prenesene u energiju tijekom prapraska a prije inflacije i stvaranja materije. Posebno je važno pitanje tko je naredio izradbu prirodnih zakona i početak prapraska. Ovim se tekstom ne navodi eksplicitno tko su naredbodavac za izradbu i izrađivač prenesenih informacija. (shrink)

In den Schilderungen der natürlichen Geschehnisgänge werden seit dem Urknallmoment Begriffe der Energien und Materien genutzt. Systembedingt bedürfen solche Schilderungen der dritten Komponente eines jeglichen Systems – der Information. Infolgedessen wurde die Frage aufgeworfen, wo in den erwähnten Schilderungen die Information liegt, und ob sie möglicherweise der Energie vorausgeht. In der Zergliederung bediente man sich der Allgemeinen Systemtheorie, einer mächtigen Methode der zeitgenössischen Wissenschaft: Zur Schilderung der allgemeinen Technik , vom Urknall bis zum Endpunkt , wurde ein eigenes, auf zwei (...) Gedanken gründendes Konzept eingesetzt, die Technik sei erstens nichts Spezielles, sondern dahingegen vollkommen Allgemeines , sowie auf dem Gedanken des fraktalen Ursprungs der Natur . In den Schilderungen wurde das Fehlen der Antworten auf die Frage nach dem Ursprung des Informationssystems detektiert, dessen Tätigkeit mit dem Urknall einsetzt. Dieser Informationseingang gabelt sich in Befehl und Daten. Mithilfe der philosophischen Erkenntnisse u. a. Platons, Aristoteles’ sowie Thomas von Aquins zog man die Schlussfolgerung, irgendjemand müsse die natürlichen Gesetze entworfen haben, die in der Form der Information in die Energie übertragen würden - während des Urknalls und vor der Inflation und Materiebildung. Von beachtlicher Bedeutung ist die Frage, wer den Entwurf der natürlichen Gesetze sowie den Urknallbeginn angeordnet hat. In diesem Text wird weder der Befehlshaber der Ausarbeitung noch der Entwerfer der übertragenen Informationen explizit angeführt. (shrink)

The descriptions of the development of events in nature from the moment of the Big Bang are using concepts of ‘energy’ and ‘matter’. Systemically, these descriptions lack the third component of every system – information. This brings up the question of where in these descriptions information is and does it possibly precede energy. The analysis used the general systems theory, one of the powerful methods in modern science. For the description of the general technology , from the Big Bang to (...) the final point , we used our own concept based on two thoughts: the technology is nothing special but quite general and the fractal concept of Nature . It was found that the descriptions lack the answers to the question of the origin of information system whose activity began with the Big Bang. That information input is divided into command and data. With the help of philosophical knowledge, including Plato, Aristotle and Thomas Aquinas, it was concluded that someone had to make the natural laws that are transmitted in the form of information into energy during the Big Bang before inflation and the creation of matter. The question of who ordered the construction of the laws of nature and started the Big Bang is especially important. This article does not state explicitly who gave the order for the making and who made the transmitted information. (shrink)

Les descriptions du déroulement des événements dans la nature à partir du bing bang utilisent les concepts d’énergie et de matière. Une troisième composante manque systématiquement : l’information. Ce qui pose la question de savoir où se trouve alors l’information dans ces descriptions et précède-t-elle peut-être à l’énergie. Cette analyse s’appuie sur la théorie générale des systèmes, une puissante méthode scientifique contemporaine. Pour décrire la technique générale , depuis le bing bang jusqu’au point final – l’état de repos absolu –, (...) elle utilise son propre concept, fondé sur deux considérations : celle que la technique n’a rien de particulier , et celle de l’origine fractale de la nature . Dans ces descriptions, les réponses à la question de l’origine du système informationnel, dont l’action débute avec le bing bang, font défaut. L’entrée de l’information se sous-divise en commande et en données. À l’aide des connaissances philosophiques comme celles de Platon, d’Aristote ou de Thomas d’Aquin, il a été déduit que quelqu’un a dû élaborer les lois naturelles transmises à l’énergie au cours du bing bang, avant l’inflation et la création de la matière. La question de savoir qui a ordonné l’élaboration des lois naturelles et le commencement du bing bang est particulièrement importante. Ce texte n’indique pas explicitement qui est le commanditeur de cette élaboration et qui l’élaborateur des informations transmises. (shrink)

Les données des fouilles récentes de l'Éphorie de Larissa (Plateia Magoula Zarkoit, Makrychori 2) ainsi qu'un réexamen statistique des fouilles de V. Milojcic (Arapi, Otzaki, entre autres) ont permis de préciser la transition entre la culture néolithique thessalienne de Sesklo et celle de Dimini. Il s'agit, à l'échelle de l'ensemble de la péninsule balkanique, d'un moment de transformation historique majeure. Les analyses montrent en fait que seule l'apparition d'une céramique noire polie est un élément réellement nouveau. Pour les autres catégories (...) de céramique, on peut montrer, tant dans les formes que dans les décors ou le· techniques, qu'elles résultent d'expérimentations et d'évolutions technologiques progressive·, issues de la culture de Sesklo. On pourrait ainsi distinguer successivement une phase Sesklo tardive, une phase de transition dite «de Zarko», une première phase Dimini dite «Larissa» (au sens redéfini ici) et une seconde phase dite « Tsangli ». Ce moment de transition se caractéri»· néanmoins par une baisse quantitative de la céramique fine, monochrome ou décorée. (shrink)