The co-evolutionary concept of Three-modal stable evolutionary strategy of Homo sapiens is developed. The concept based on the principle of evolutionary complementarity of anthropogenesis: value of evolutionary risk and evolutionary path of human evolution are defined by descriptive (evolutionary efficiency) and creative-teleological (evolutionary correctly) parameters simultaneously, that cannot be instrumental reduced to others ones. Resulting volume of both parameters define the trends of biological, social, cultural and techno-rationalistic human evolution by two gear mechanism ˗ gene-cultural co-evolution and techno- humanitarian balance. (...) The resultant each of them can estimated by the ratio of socio-psychological predispositions of humanization/dehumanization in mentality. Explanatory model and methodology of evaluation of creatively teleological evolutionary risk component of NBIC technological complex is proposed. Integral part of the model is evolutionary semantics (time-varying semantic code, the compliance of the biological, socio-cultural and techno-rationalist adaptive modules of human stable evolutionary strategy). (shrink)
The theory of evolution of complex and comprising of human systems and algorithm for its constructing are the synthesis of evolutionary epistemology, philosophical anthropology and concrete scientific empirical basis in modern (transdisciplinary) science. «Trans-disciplinary» in the context is interpreted as a completely new epistemological situation, which is fraught with the initiation of a civilizational crisis. Philosophy and ideology of technogenic civilization is based on the possibility of unambiguous demarcation of public value and descriptive scientific discourses (1), and the object and (...) subject of the cognitive process (2). Both of these attributes are no longer valid. For mass, everyday consciousness and institutional philosophical tradition it is intuitively obvious that having the ability to control the evolutionary process, Homo sapiens came close to the borders of their own biological and cultural identity. The spontaneous coevolutionary process of interaction between the «subject» (rational living organisms) and the «object» (material world), is the teleological trend of the movement towards the complete rationalization of the World as It Is, its merger with the World of Due. The stratification of the global evolutionary process into selective and semantic (teleological) coevolutionary and therefore ontologically inseparable components follows. With the entry of anthropogenic civilization into the stage of the information society, firsty, the post-academic phase of the historical evolution of scientific rationality began, the attributes of which are the specific methodology of scientific knowledge, scientific ethos and ontology. Bioethics as a phenomenon of intellectual culture represents a natural philosophical core of modern post- academic (human-dimensional) science, in which the ethical neutrality of scientific theory principle is inapplicable, and elements of public-axiological and scientific-descriptive discourses are integrated into a single logic construction. As result, hermeneutics precedes epistemology not only methodologically, but also meaningfully, and natural philosophy is regaining the status of the backbone of the theory of evolution – in an explicit form. (shrink)
The co-evolutionary concept of tri-modal stable evolutionary strategy (SESH) of Homo sapiens is developed. The concept based on the principle of evolutionary complementarity of anthropogenesis: value of evolutionary risk and evolutionary path of human evolution are defined by descriptive (evolutionary efficiency) and creative-teleological (evolutionary correctness) parameters simultaneously, that cannot be instrumental reduced to others ones. Resulting volume of both parameters define the vectors of human evolution by two gear mechanism ˗ genetic and cultural co-evolution and techno-humanitarian balance. Explanatory model and (...) methodology of evaluation of creatively teleological evolutionary risk component of NBIC technological complex is proposed. The mechanism of influence of each module on the evolution of the two remaining modules of SESH a priori can be twofold: (1) informational co-evolution (direct selective pressure); (2) semantic co-evolution (time-varying semantic code, the compliance of the biological, socio- cultural and techno-rationalist adaptive modules of human stable evolutionary strategy). More rapidly evolving autonomous element of the co-evolutionary pair becomes making sense factor for the partner. Semantic co-evolution is the discrete acquisition of adaptive significance of individual alleles by changing socio-cultural types, manifested as an increase in the genetic variability of populations of Homo sapiens, and domesticated species parallel to socio-culturogenesis. The socio- cultural landscape leads to drastically difference of direction in biological evolution of Atlantic and East-Slavic ethnicities/civilizations. (shrink)
From Chernobyl to Fukushima, it became clear that the technology is a system evolutionary factor, and the consequences of man-made disasters, as the actualization of risk related to changes in the social heredity (cultural transmission) elements. The uniqueness of the human phenomenon is a characteristic of the system arising out of the nonlinear interaction of biological, cultural and techno-rationalistic adaptive modules. Distribution emerging adaptive innovation within each module is in accordance with the two algorithms that are characterized by the dominance (...) of vertical (transgenerational) and horizontal (infection, contagion) adaptive streams of information, respectively. Evolutionary risk is the result of an imbalance of autonomous adaptive systems have an essential attribute of adaptibe strategy of Homo. Technological civilization inherent predisposition to overcome their dependence on biological and physical components. This feature serves as an enhancer of the evolutionary generating conjugate with the scientific and technological development risk We can assume the existence of an intention of Western mentality to a high priority (positive or negative) of technological modifications micro-social environment and post- Soviet (East Slavic) mentality to modification of macro-social system. (shrink)
Human simultaneously is the acting person of a few autonomous and interdepending forms of evolutional process. Accordingly, it is possible to select three forms of adaptation and three constituents of evolutional strategy of survival of humanity – biological, sociocultural and technological adaptations. The actual and potential consequences of development of so-called High Hume technologies (technologies of the guided evolution) most essential from major technological adaptations of humanity are analyzed. The phenomenon of bio-power within the framework of global coevolutional (...) methodology as one of central elements of mechanism of mutual co-ordination of biological and sociocultural forms of evolutional process from one side and technocultural balance, with other is examined. (shrink)
The theory of evolution of complex, including the humans system and algorithm for its constructing are a synthesis of evolutionary epistemology, philosophical anthropology and concrete scientific empirical basis in modern science,. In other words, natural philosophy is regaining the status bar element theoretical science in the era of technology-driven evolution. The co-evolutionary concept of 3-modal stable evolutionary strategy of Homo sapiens is developed. The concept based on the principle of evolutionary complementarity of anthropogenesis: value of evolutionary risk and evolutionary path (...) of human evolution are defined by descriptive (evolutionary efficiency) and creative-teleological (evolutionary correctly) parameters simultaneously, that cannot be instrumental reduced to others ones. Resulting volume of both parameters define the vectors of biological, social, cultural and techno-rationalistic human evolution by two gear mechanism ˗ genetic and cultural co-evolution and techno-humanitarian balance. The resultant each of them can estimated by the ratio of socio-psychological predispositions of humanization/dehumanization in mentality. Explanatory model and methodology of evaluation of creatively teleological evolutionary risk component of NBIC technological complex is proposed. Integral part of the model is evolutionary semantics (time-varying semantic code, the compliance of the biological, socio-cultural and techno-rationalist adaptive modules of human stable evolutionary strategy). (shrink)
Stable adaptive strategy of Homo sapiens (SASH) is a result of the integration in the three-module fractal adaptations based on three independent processes of generation, replication, and the implementation of adaptations — genetic, socio-cultural and symbolic ones. The evolutionary landscape SASH is a topos of several evolutionary multi-dimensional vectors: 1) extraversional projective-activity behavioral intention (adaptive inversion 1), 2) mimesis (socio-cultural inheritance), 3) social (Machiavellian) intelligence, 4) the extension of inter-individual communication beyond their own social groups and their own species in (...) the rest of the world, 5) the symbolic system of communication (symbolic inheritance), 6) spiritualistic trans- formation of emotionally-shaped components of mentality, 7) the dominance of the rationalist thought mentality (enhancer of adaptive inverse 1), 8) a recursive distribution of projective-activity intentions on the man himself his genome, psyche and culture (Adaptive Inversion 2), 9) introversional reorientation of the vector of cognitive activity (adaptive inversion 3). (shrink)
The co-evolutionary concept of three-modal stable evolutionary strategy of Homo sapiens is developed. The concept based on the principle of evolutionary complementarity of anthropogenesis: value of evolutionary risk and evolutionary path of human evolution are defined by descriptive (evolutionary efficiency) and creative-teleological (evolutionary correctness) parameters simultaneously, that cannot be instrumental reduced to other ones. Resulting volume of both parameters define the vectors of biological, social, cultural and techno-rationalistic human evolution by two gear mechanism — genetic and cultural co-evolution and techno-humanitarian (...) balance. Explanatory model and methodology of evaluation of creatively teleological evolutionary risk component of NBIC technological complex is proposed. Integral part of the model is evolutionary semantics (time-varying semantic code, the compliance of the biological, socio-cultural and techno-rationalist adaptive modules of human stable evolutionary strategy). (shrink)
The phenomenon of rationalism and irrationalism, contextually related to the transformation methodology and the social function of modern (post-industrial) science – social verification, interpretation and knowledge, etc., are analyzes.
Sources of evolutionary risk for stable strategy of adaptive Homo sapiens are an imbalance of: (1) the intra-genomic co-evolution (intragenomic conflicts); (2) the gene-cultural co-evolution; (3) inter-cultural co-evolution; (4) techno-humanitarian balance; (5) inter-technological conflicts (technological traps). At least phenomenologically the components of the evolutionary risk are reversible, but in the aggregate they are in potentio irreversible destructive ones for biosocial, and cultural self-identity of Homo sapiens. When the actual evolution is the subject of a rationalist control and/or manipulation, the magnitude (...) of the 4th and 5th components of the evolutionary risk reaches a level of existential significance. (shrink)
Inventive Machine project is the matter of discussion. The project aims to develop a family of AI systems for intelligent support of all stages of engineering design.Peculiarities of the IM project:deep and comprehensive knowledge base — the theory of inventive problem solving (TIPS)solving complex problems at the level of inventionsapplication in any area of engineeringstructural prediction of engineering system developmentThe systems of the second generation are described in detail.
Dans son ouvrage La libération animale, Peter Singer développe trois grandes idées : le principe d'égale considération des intérêts, le rejet du spécisme, et la nécessité de mettre un terme à certains types d'exploitation des animaux, notamment ceux qui ont trait à la recherche et l'élevage industriel. Cette oeuvre phare a connu un retentissement immense, à tel point que sa publication, en 1975, a été présentée comme le moment clef dans l'émergence du mouvement éponyme. Cependant, le mouvement de libération animale (...) ne saurait se réduire à la seule pensée singerienne. Ce mouvement extrêmement protéiforme a fait l'objet de débats intenses à l'interne, entre les défenseurs des animaux eux-mêmes qui privilégient des approches diverses, comme à l'externe, entre ceux qui défendent le statu quo ou contestent les arguments animalistes. L'objet de ce recueil est de revenir sur le lien entre le mouvement de libération animale et les théories de Peter Singer qui, à tort ou à raison, en est perçu comme le père fondateur. Comment l'éthique animale de l'auteur a-t-elle été accueillie depuis la publication de La libération animale, et comment a-t-elle évolué ? Quelle place la doctrine utilitariste occupe-t-elle dans le travail de Singer et dans les débats qu'il a engendrés ? (shrink)
At the heart of the book - two views (naturalist and humanist) on the dangers of and Prospects of "scientific and technological progress," that defining the face of modern civilization. Its leaders are now the information, genetic cal and biological technology.
Paul Valéry is de dichter die zwijgt; de denker die weigert filosoof te zijn; de schrijver die de taal in staat van beschuldiging stelt; de expert die volhoudt een amateur te zijn; de mysticus die zijn heil zoekt bij de wiskunde; de stamelaar die aan een kwaal van precisie lijdt; de Narcissus die misschien toch liever Orpheus had willen zijn. Hij is de chroniqueur van het denken en de meester van de tegenspraak. Ik probeer me hem voor te stellen. Het (...) is 1894 en hij zit gebogen te schrijven in de schriftjes waarin hij elk ochtend 'entre la lampe et le soleil' zijn denken fileert, een project dat uitmondde in ca. 30.000 bladzijden weerbarstige onvoltooidheid: de Cahiers. (shrink)
Valéry’s conceptions of mind, literature and even philosophy often stress the importance of an effort against heterogeneity that should be led in the name of what the author himself calls pureté. On the other hand, the theories that Valéry develops about composition - which is intended both as an aesthetic and a theoretical concept - show the importance of complexity in his representation of the esprit and allows to compare Valéry’s descriptions of the self with the way he represents creative (...) process and even draws the structure of his own works. (shrink)
In this contribution, we shall examine how Valéry leaves Descartes, and the paradigm of sight, in favor of the dancer Athiktè, typical of the paradigm of hearing and touch. If Descartes offers the pattern of an analytic mapping, that method reveals itself irrelevant to take into account what Valéry calls the C.E.M (Corps Esprit Monde). On the other side, a dancer, like Athiktè appears as the model of poiesis, showing the natura naturans in progress.
Sensibilité is in Valéry’s theory the name of a large grasp of functions, involving both perception and creation, and involved both in art and in experience. So far, this key word of Valéry’s aesthetics can be read as the bridge between his conceptions of art and his idea of the self in order to understand the way this author writes and conceives what philosophy can aim to.
Este trabajo se aproxima a la recepción de Descartes en la obra del escritor francés Paul Valéry. Examinando algunos de sus textos sobre el filósofo y las lecturas de autores como Derrida, Benjamin, Löwith o Blumenberg, examinamos algunas de las claves del pensamiento de Valéry. Nuestro objetivo es mostrar cómo la obra en prosa de este poeta resulta fundamental para estudiar la crisis del sujeto y las transformaciones de la filosofía contemporánea.
Subject of this essay is the relationship between Celan’s and Valéry’s theory on language, aesthetic and history. Resorting to the importance of some passages of Valéry’s Cahiers for the conception of Celan’s theoretical doctrine of the poetry, the author underwrites the centrality of this philosophical heritage for the explanation and the justification of Celan’s linguistic choices and of their historical and political meaning.
In his Cahiers , Valéry says that writing two of his major dialogues, Eupalinos and L’âme et la danse , was an antidote to his ravaging mood: literature and spirituality are the remedy generated by a necessary and not eliminable evil, particularly the one that shows itself as ‘rage’ in love. The essay investigates thoroughly this contradictory logic and focuses on the problem of sensitiveness in Valéry’s work, pointing out a twofold presence of the ‘body’. Preserving these two presences, the (...) writing incessantly tries to make up “une fureur intelligente et expérimentale” and to give a new form, without deleting it, to sensitiveness’ acute pain. (shrink)
Contrary to the prevailing view, there is not one, but at least two poetic theories in Paul Valéry: the intellectual, formalist and technical poetics Valéry is usually associated to conflicts with another poetics, which highlights sensitivity, lyricism and subjectivity. The constitutive duplicity of Valéry’s literary theory has probably something to do with the ambiguity of his relationship with Stéphane Mallarmé.
Body, sensibility and experience: Paul Valéry’s reflection and pragmatist aesthetic The pragmatist aesthetic of Dewey and Shusterman can be useful to understand the complexity of the Valéry’s thought: this paper aims to highlight a pragmatist attitude on the Valéry’s aesthetic through the links of the triad Corps, Esprit, Monde and underline the crucial role that the body and the senses play in experience.
This paper aims to outline the importance of Valéry with respect to some cornerstones of Adorno’s aesthetic theory as a negative-dialectical thought. Adorno’s concept of aesthetic experience finds in Valéry as an “Artist” (not simply as a “Künstler”) a sort of lieutenant: he helps to specify notions like “apparition”, “form”, “configuration”, and above all the idea of the aesthetic as a relation by which something happens in the field of human experience without being a determinate, or determinable, content of it.
En quel sens l’expérience esthétique peut-elle être subjective et profondément individuelle sans pour autant être arbitraire ? Le texte suivant essaie de répondre à cette question en tentant de considérer l’expérience esthétique comme le lieu d’une reconduction de la subjectivité individuelle aux éléments symboliques déterminants qui composent la substance de notre vie comme existence finie. C’est en suivant les réflexions de Valéry sur le pouvoir d’émission de la sensibilité formelle que nous visons cette problématique et tentons de dégager les aspects (...) de sa pensée poïétique contribuant à une herméneutique de l’expérience esthétique individuelle pour laquelle la subjectivité se sent irréductiblement concernée en elle-même comme finitude.In what sense can aesthetic experience be subjective and profoundly individual without being arbitrary ? The following paper tries to respond to this question by considering the aesthetic experience as the place where the individual subject is confronted with the symbolic elements composing the substance of his life as finitude. We want to develop this problematic by following the reflections of Valéry on what he calls the formal sensibility and their aesthetic solicitations. Our objective is to present how different aspects of his poetic conception can contribute to the elaboration of a hermeneutic of the aesthetic experience in which the individual subject feels itself to be concerned as a finite being. (shrink)
In response to Paul Valéry's claim that “philosophy is poetry,” Simone Weil set out to examine the nature of philosophical thinking. She argues that it is above all concerned with value. In the course of her argument, she lays out the grammatical differences between thinking about value, and other epistemological endeavours. These differences mean that inconsistencies are not to be avoided in philosophy, and that philosophy is not a matter of system building. In the end, she also believes that thinking (...) philosophically requires one to possess the value of detachment, and hence a readiness to be transformed. (shrink)
Throughout his theoretical writings, Valéry insists on two fundamental principles: poetic rhythm is undefinable and yet it is central to poetry. Although his verse practice evolves from irregularity to regularity, Valéry insists that predictable metrical forms are no guarantee of poeticity, and rejects the Romantic model of rhythmic mimesis based on the cosmos, nature or the human body. It is not by confirming the meaningfulness of regular patterns, therefore, that poetic rhythm signifies; rather, the complex overlapping of multiple, elusive and (...) unanalysable rhythms provides a source of questions to which the answer is constantly deferred; and that, for Valéry, is the definition of poetry. (shrink)
This article studies Paul Valéry's personal reflection on photography, as it appears in his essay ?Le Discours du Centenaire de la Photographie,? based on a speech given at the Sorbonne in 1939 to members of the French Academy. It stresses the relationship between this essay and the French poet's writings on painting and aesthetics, in particular his work on Corot. Moreover, it analyzes the synthetic character of Valéry's critical approach, which attempts to bring together the language of poetry, philosophy and (...) science when dealing with this utterly modern visual language. Photography is celebrated here as a unique art form that can at the same time imitate and reproduce nature perfectly, while allowing mankind to create a cosmological vision of life and the universe. In other words, the poet underlines in this text the utmost modernity of photography, at a time when many in France were still reluctant to acknowledge its artistic identity. (shrink)
Le but de cette contribution c'est d'analyser la lecture derridienne du Monsieur Teste de Valéry afin de montrer que, par cette figure énigmatique, Derrida a voulu proposer une déconstruction double : une déconstruction de l’égologie souveraine au moyen de l’hétérologie contre-souveraine et vice-versa.
When Introduction à la méthode de Léonard de Vinci was published, Valéry was not yet twenty-four. The period during which he wrote this work, as well as Soirée avec M. Teste, which appeared a year later, was extremely important in his biography, for it defined the principal trends of his thought for decades to come. After a twenty-year period of silence and retirement, there appeared his small volume La Jeune Parque, the collection Charmes, Album de vers anciens, and his Socratic (...) dialogues, all of which won him fame. The reader became aware of a brilliant stylist producing essays most abundant in number and themes, an acute analyst of culture in crisis, of the human community, mind, and morals, and the author of notebooks kept for many years in which he appears, as, among other things, a forerunner of the most diverse ideas in the realm of linguistics, psychology, information theory, aesthetic theory, and the like. Finally, there was to be the posthumous publication of Mon Faust, which, in the mind of the more perceptive reader, markedly emphasizes and sharpens the tragic aspects of Valéry's personality and consciousness of the world, for he is still today sometimes presented as a kind of causeur of high society, a cold master of "manufactured" poetry, an overly brilliant dilettante blinded by science or, at the very best, an utterly academic classicist in the category of those who are as dead as Bossuet or Boileau. All that was still in the future. However, it was precisely in these early works that, with all the fire of youth and maximalism of thought, he formulated ideas that must be central to the attention of those who wish to discover the system of Paul Valéry. (shrink)
ArgumentThe famousCahiersof Paul Valéry cannot be reduced to a single scientific discipline, a specific philosophical tradition, or a literary genre. For today's reader these notebooks constitute a formatsui generis, one very often characterized by an “observation of a second order”: in theCahiersValéry uses writing, drawing, and calculating not only for purposes of argumentation; he also pays attention to the significance of such writing, drawing, and calculating processes for the production of knowledge. It is particularly thepracticeof note-taking and sketching in Valéry's (...) notebooks that documents, rehearses, or questions the medial and instrumental conditions of both scientific research and artistic production. This is especially true of the early stages of theCahiersin the years beginning around 1894 when Valéry was intensely searching for notation systems that would be conducive to his research interests. At the time the problem of how to write was intrinsically bound up with the way he established his notebooks as a specific scene of writing. By closely examining a number of pages from the early notebooks I hope to show that the emerging regulation of Valéry's writing in theCahiersresults from simple operations that are noted and repeated by the writer until they gradually become procedures. What Valéry'sCahiersshow us, however, is that procedures do not always work in favor of a final synthesis, but may also give rise to a format of eternal beginning. In the following I will present some of the constitutive procedures found in Valéry's early notebooks, procedures that range from a tentative gathering together and simple forms of recursion and variation to the rehearsing or invention of symbolic or graphic forms of notation. (shrink)
Este artículo busca demostrar que el pensamiento de Paul Valéry desarrolla un análisis crítico de las condiciones en que el arte establece su relación con el sistema económico moderno. Para validar dicha hipótesis, inicialmente es presentada la noción de “máquina económica”, con la que es descrita la teoría de la economía, y son definidas las características de los objetos útiles e inútiles que componen el mercado. A su turno, el artículo detalla el proceso histórico de la mercantilización del arte en (...) la época moderna, y aclara las razones por las cuales los productores y consumidores de obras artísticas asumen una forma de apropiación diferente hacia estas. Se prueba que, debido a la primacía de la naturaleza simbólica de la obra artística, la generación y actualización de su valor cuantitativo y cualitativo se enfrenta a un alto grado de indeterminabilidad. También se demuestra la existencia de una teoría estética argumentada con la que el autor francés propone la apreciación del valor de la obra. Por último, es descrito el papel que debe asumir la crítica ante la producción artística destinada para el consumo social. (shrink)