In this paper I propose to do the following: I will discuss the notions of intentionality and self-understanding of Dasein as developed in Heidegger's Basic Problems of Phenomenology. In doing so, I will try to show the interrelation of Dasein's always being intentionally directed towards something and its self-interpretation. As we will see, the everyday world has, for Heidegger, a character of "equipmental contexture." This means that Dasein returns to itself from out of things, equipment, tools, or - quite differently (...) - the work of art. In a word, Dasein is mirrored back toward itself from the things made, from the products of techne. From this will follow the important distinction between authenticity and inauthenticity. There is a sense in which the following pairings could be discerned: tools or pieces of equipment link up with inauthenticity, while the work of art links up with authenticity. I will say more on the subject of tools a bit later in the essay. Both kinds of things are things insofar as they are entrenched in techne. The common root seems almost inexplicable in the light of the vast difference between tools and the artwork. Moreover, both Dasein and techne seem to have another equally enigmatic common root: that of temporality. Temporality is the essential bond between Dasein and the double sense of techne, which suggests the double-sidedness of temporality itself. It is precisely this doublesidedness that I would like to have as the backdrop to my discussion as a whole. Finally, I will turn to a few pages of Heidegger's Being and Time and Bernard Stiegler's book Technics and Time I in order to complicate this notion of the two senses of temporality, the owned and disowned, originary and everyday, and its relation to work and techne. The overarching question here will be: Can the distinction between authenticity and inauthenticity be sustained? (shrink)

Education is viewed as not merely a particular domain of social life. It is more a universal process than a mere learning of sciences and arts; it is richer than an individual's socialization. The educational democratization turns out to be a prerequisite of humanization of the entire social life. The orientation at the supreme humane values as a strategic direction of democratic evolution of education is opposed to the authoritarian tendencies as an “antivalue” of pedagogical relations.Being a significant step towards (...) a genuinely humane society, democratization is unable, however, to resolve the fundamental problem of human formation: that of alienation. The opportunity to resolve it is dependent upon proper conditions for a free self-determination of a personality in culture. (shrink)

The philosophical influence is a concept, a methodological tool and a process worth inquiring, because it sets the frame for the philosopher's contribution into tradition. This study takes a close look at the philosophical influence on the dependence and inter-dependence between ideas and concepts, currents and tendencies and the experiences that every philosopher inherited from past tradition. It also presents four philosophers in order to identify the roots of influence: Arthur Schopenhauer, Fyodor Dostoevsky, Friedrich Nietzsche and Emil Cioran.

The 2010 English-language edition of Christian Marazzi's The Violence of Financial Capitalism made a groundbreaking work on the global financial crisis available to an expanded readership. This new edition has been updated to reflect recent events, up to and including the G20 summit in July 2010 and the broad consensus to reduce government spending that emerged from it. Marazzi, a leading figure in the European postfordist movement, argues that the processes of financialization are not simply irregularities between the traditional categories (...) of wages, rent, and profit, but rather a new type of accumulation adapted to the processes of social and cognitive production today. The financial crisis, he contends, is a fundamental component of contemporary accumulation and not a classic lack of economic growth. Marazzi shows that individual debt and the management of financial markets are actually techniques for governing the transformations of immaterial labor, general intellect, and social cooperation. The financial crisis has radically undermined the very concept of unilateral and multilateral economico-political hegemony, and Marazzi discusses efforts toward a new geomonetary order that have emerged around the globe in response. Offering a radically new understanding of the current stage of international economics as well as crucial post-Marxist guidance for confronting capitalism in its newest form, The Violence of Financial Capitalism is a valuable addition to the contemporary arsenal of postfordist thought. This edition includes the glossary of the esoteric neolanguage of financial capitalism—"Words in Crisis," from "AAA" to "toxic asset"—written for the first English-language edition, and offers a new afterword by Marazzi. (shrink)

Measuring psychological attributes, such as motivation, typically involves rating scales, assuming that an attribute can be ordered, and that ratings represent this order. Previously, only the first assumption had been tested, albeit limited. First, we checked the ordinal structure of motivation, looking at whether people can establish transitive relations between motivation levels in pairwise comparisons; and we found different ordering patterns: strict transitive, weak transitive, changing order, and intransitivity. The rate of intransitivity was similar to that found previously and was (...) somewhat higher than we obtained when we asked participants to compare definitely quantitative attributes. Second, we checked if specific ordering patterns were related to individual interpretations of the statements that deviated from expected motivation types. Indeed, about a third of participants miscategorized statements, and these deviant interpretations were related to intransitivity as well as weak transitivity. Third, we checked whether Likert ratings represent the order of motives obtained from pairwise comparisons. We found rather homomorphic representation: ratings correlated with the order, but they did not differentiate between different ordering patterns and hierarchies of motives. We conclude that the Likert rating scale provides less information about respondents than pairwise ordering. The findings question the mainstream practice of using rating scales without testing underlying assumptions. (shrink)

The image of St. Petersburg is an integral part of Russian art, in particular, in watercolor painting. This article is devoted to the analysis of the work of Russian watercolor artists, identifying the specifics and characteristic features of the image of the city on the Neva in their work. The object of the study is watercolors by Russian artists, the subject is expressive means, techniques and methods through which the image of St. Petersburg is embodied. On the example of watercolor (...) works by E.P. Gau, I.A. Vladimirova, A.S. Vedernikov, A.P. Ostroumova-Lebedeva, P.P. Grigoryants, G.P. Fitingof, A. Ermolaev, V.V. Proshkin, K. Kuzema, V. Kolbasov, O. Litvinenko, etc. the historical transformation of the artistic image of St. Petersburg, its conditionality by cultural and historical factors and the nature of the life of the inhabitants of the city is shown. The study concluded that the image of St. Petersburg is important for Russian artists, as well as a significant variety of its creative interpretations. Each watercolor work demonstrates the subjective attitude of artists to St. Petersburg, thanks to which real urban landscapes acquire spirituality and unique expressiveness. The complex historical fate of this cultural and artistic center of Russia, which was once a magnificent capital, experienced revolutionary events and went through military destruction, determined the versatility of creative approaches to the embodiment of the city, as a result of various turns of history, it lost, then regained its greatness, beauty and attractiveness. Petersburg in watercolors is invariably filled with vitality, lyrical feelings and the love of artists. (shrink)