Ontological Nature Research Articles

Revisioning Rhetorical Violence in the Afterlife

Abstract In this essay, we attend to the rhetorical and spatio-temporal contours of how the urgency to recognize Black life and aid in struggle is detached from a recognition of the deep structural and ontological nature of antiblackness. We center on two seemingly disparate case studies to unpack these phenomena. First, we look at the state lynching of Breonna Taylor and the multiracial coalition that emerged around #sayhername, and second, we turn to the politics and rhetorics of DEI initiatives on college campuses. Guided by scholars writing on Black life, our project asks how we imagine the physicality of violence in this moment in ways that interrupt common frames of both the physical and the moment. We write at the intersection of two larger rhetorical conversations on racialized violence: stoppage and suffocation, and their respective interests in theories of racialized time. We argue that the variants of anti-Black stoppage and suffocation operate on multiple temporal registers of recognition that perform recognition even as they profit from antiblackness. For rhetorical scholars invested in studies of racial violence, the urgency of the moment should serve as a reminder that possibility lies in the inventional, an inventional that requires a disciplined, intentional, and persistent practice and commitment.

INSTRUMENTAL FANTASY IN THE 20TH CENTURY: VARIATIONS ON THE GENRE-STYLE GENOTYPE

The article is devoted to the problem of the transformation of the genre gene survey of instrumental fantasy in musical creativity of the 20th century. The research methodology is based on cultural and systemic approaches, which allows to present fantasy in several dimensions: ontological (philosophical meaning), pragmatic (genre structure) and interpretive (play with an invariant, original work, etc.), which is proven on individual examples. The scientific novelty of the study consists in presenting fantasy as a system that combines the ontological, communicative and interpretive nature of the genre. It was revealed that the ontological nature is revealed through structural, linguistic and dramaturgical signs of improvisation and freedom; genre (genre composition) through the basic indicator that combines freedom of presentation and development of the main musical material (theme, thematic complex, etc.); the communicative meaning appears to direct the attention of both the performer and the listener to the principle of creative freedom, or a certain “game”, which becomes the main idea in the work. Finally, the interpretive meaning is emphasized due to the presence of the type of “fantasy on themes”, re-intonation, combination of the fantasy genre with other genres, which is often noted by the author himself - sonata-fantasia, waltz-fantasia, quasi fantasia, etc., which is evidence of the work of fantasy as a principle of special “world perception” and “world creation” both by itself and based on established linguistic and dramaturgical norms of another genre.

Effectual and causal decision-making logics: Development and validation of a scenario-based measure (WITHDRAWN)

Effectuation theory has gained prominence as a framework for understanding entrepreneurial decision-making logics. However, the measurement of effectuation remains controversial, as existing measures suffer from important limitations hindering empirical research. Across several empirical studies, we develop a scenario-based measure of effectuation, examine its content validity, explore and then confirm the dimensionality of the measure, and provide evidence of convergent and discriminant validity. Our measure shows evidence of strong reliability and validity. We contribute a new measure for effectuation research that operationalizes effectuation as a decision logic of the individual entrepreneur, clarify the ontological nature of the effectuation construct, and extend its nomological net.

Spirituality as The Foundation of The Hierarchy of Needs in The Humanistic Psychology of Abraham Maslow and Sufi Psychology of Said Nursi

Abraham Maslow’s theory discredits the existence of religion and substitutes it with secular spirituality. It provides a space for anthropocentrism and materialism philosophy, freedom, authorization, and a single human potentiality. On the other hand, Said Nursi’s Sufi Psychology sets religious teachings as the radiance of spirituality. It identifies the genuineness of human beings as creatures who are obedient to God. This study aims to reveal how humanistic psychology and Sufi psychology perceive the need for spirituality by referring to Abraham Maslow and Said Nursi. Researchers identify, select, and formulate relevant and constructive narratives to support each theory stated. They then conducted a deductive content analysis of the references using the available variables, categories, and content tabulations. This research finds that Maslow's spirituality relies on subjective human experience, and life satisfaction can be achieved by maximizing one's potential. On the other hand, Nursi's spirituality is based on the Shari'a and leads to fundamental happiness. For Maslow, the existence of God has been alienated from the human mind, and religion has become a secondary component. At the same time, Nursi has a Tauhidic perspective on reality and believes that religion is the primary guidance of life. Meanwhile, secular spirituality promises nothing but illusory pseudo-happiness. This concept originated from the confusion of Modern Western Psychology on the nature of God, religion, and human psychology. This confusion will vanish if it refers to religious teaching as the ultimate truth. Although both have differences in their ontological nature and conceptual psychological foundations, they both present a similar understanding of recognizing a Higher Entity capable of controlling human life. This entity is called God. In conclusion, Nursi's concept of Tawhid-based spirituality offers a solution to modern man's anxiety, emptiness, and powerlessness of their life problems.

Ontological determinant of the phenomenon of creativity in the conceptual space of non-classical philosophy

The subject of the study is the ontological nature of the phenomenon of creativity in the context of conceptual constructions of the most important nominal layers of non-classical philosophy. The aim of the work is to reveal the ontological essence of creativity in the context of European philosophy of the XIX–XX centuries based on the works of A. Schopenhauer, A. Bergson, J.-P. Sartre, A. Camus and M. Heidegger. The theoretical and methodological basis of the research is the works of representatives of the non-classical period of the development of philosophical thought, as well as the works of modern domestic and foreign researchers, in their works directly or indirectly touching on the problem of the ontological determinant of creativity. The central research methods are comparative and complex methods for establishing connections and relationships between phenomena that are part of the sphere of creative being, as well as an analytical and interpretive method for analyzing existing interpretations of the phenomenon under study and presenting the author's position. The scientific novelty of the research consists in the identification and systematization of philosophical ideas regarding the ontological determinant of creativity in the conceptual field of Western European non–classical philosophy of the XIX-XX centuries. As a result of the conducted research, the author comes to the conclusion that within the framework of non-classical philosophy, the ontological nature of creativity is revealed both at the level of objective reality (generation and change of existing being) and in the existential-personal space of the subject (self-creation and self-transcending through the implementation of irrational-volitional intentions and life-meaning orientations). Unlike the classical tradition of philosophizing, which absolutizes the epistemological component of the subject's creativity, in the subject field of non-classical philosophy, creativity regains its ontological rootedness, since it acts as the general existential of human existence, revealing itself through the prism of such concepts as the Will to live, pure duration, creative evolution, Vital impulse, imaginative consciousness, rebellion against the absurd, the promotion of truth and the way out of inauthenticity.

Онтологические основания музыкального творчества

In the system of classical arts, music has always been perceived as a human actional breakthrough to understanding the Universe. The musical language, considered as a cultural universal, is the basis of intuitive cognition, a felt view of the axiological unity of Truth, Goodness and Beauty. The article offers an analysis of the formation of the main philosophical theories of the ontological nature of musical creativity in their historical continuity. In the history of ideas, the phenomenon of musical creativity has been perceived as a special kind of revelation. This reveals the obvious importance of the aesthetic approach in understanding the transcendental world; the objectified connection of man with ontological processes. Modern theories of universal evolutionism represent the development of the Universe as a single system based on the unity of its laws. It is in our time that comprehension of the essence of musical creativity opens a fundamentally new page in the philosophical understanding of the centuries-old history of music. The key point is the idea of the Μελῳδός aspiration to the Λόγος, the tendency to move from particular theoretical constructions and critical assessments to considering the phenomenological foundations of music, fundamentally presented, in particular, in the works of A. Losev and T. Adorno. In the XX century, there was an obvious surge in the formulation of generalizing musicological concepts, and it was in the XX century that the philosophy of music received qualitatively new worldview foundations for its comprehensive interpretation. In this respect, the study of the epistemological nature of musical creativity has reached, it would seem, its peak. However, comprehension of the investigated theories allows us to draw conclusions only about the possible approximation of a true understanding of the essence of musical creativity as a special cognitive practice. This turns out to be possible on the methodological basis of cumulative generalization, taking into account the religious, aesthetic, cultural, psychological, educational and other approaches in comprehending the value of the “world of sound”.

Anatomy and the type concept in biology show that ontologies must be adapted to the diagnostic needs of research

BackgroundIn times of exponential data growth in the life sciences, machine-supported approaches are becoming increasingly important and with them the need for FAIR (Findable, Accessible, Interoperable, Reusable) and eScience-compliant data and metadata standards. Ontologies, with their queryable knowledge resources, play an essential role in providing these standards. Unfortunately, biomedical ontologies only provide ontological definitions that answer What is it? questions, but no method-dependent empirical recognition criteria that answer How does it look? questions. Consequently, biomedical ontologies contain knowledge of the underlying ontological nature of structural kinds, but often lack sufficient diagnostic knowledge to unambiguously determine the reference of a term.ResultsWe argue that this is because ontology terms are usually textually defined and conceived as essentialistic classes, while recognition criteria often require perception-based definitions because perception-based contents more efficiently document and communicate spatial and temporal information—a picture is worth a thousand words. Therefore, diagnostic knowledge often must be conceived as cluster classes or fuzzy sets. Using several examples from anatomy, we point out the importance of diagnostic knowledge in anatomical research and discuss the role of cluster classes and fuzzy sets as concepts of grouping needed in anatomy ontologies in addition to essentialistic classes. In this context, we evaluate the role of the biological type concept and discuss its function as a general container concept for groupings not covered by the essentialistic class concept.ConclusionsWe conclude that many recognition criteria can be conceptualized as text-based cluster classes that use terms that are in turn based on perception-based fuzzy set concepts. Finally, we point out that only if biomedical ontologies model also relevant diagnostic knowledge in addition to ontological knowledge, they will fully realize their potential and contribute even more substantially to the establishment of FAIR and eScience-compliant data and metadata standards in the life sciences.

Origins of the Twenty-First Century

This paper explores the impact of technology on the practice and theorization of the cinematic essay, with a particular emphasis on the ways in which digital tools have shaped the form in the early twenty-first century. I first argue that the cinematic essay has been associated with technological evolution throughout its history, and then discuss recent examples of the form which utilize aesthetic strategies, editing techniques, and modes of spectatorial address that are rooted in the capabilities of digital technologies. I conceptualize the cinematic essay as a self-reflexive mode of nonfiction cinema that foregrounds the filmmaking apparatus and the act of its own making. In doing so, the cinematic essay launches an inquiry into the ontological nature of the cinematic image, the tools which construct it, and the wider artistic landscape in which it is embedded. To illustrate how digitization has opened new opportunities for essayistic expression, this paper draws parallels between the current use of digital moviemaking tools and earlier periods in which new technologies were utilized to reimagine essayistic craft.

Contemporary Kazakh Crafts in the Focus of Ethno-Symbolism: Methodological Aspects

The issues of studying symbolism and symbol-creativity in the art of contemporary Kazakh crafts have made the methodological potential of Anthony Smith’s ethno-symbolic concept topical. Relying on the scholar's belief that national traditions are based on a set of stable ethno-cultural symbols that ensure their longevity and vitality, contemporary Kazakh craft can be studied in the aspect of national identity. Anthony Smith’s ethno-symbolic discourse allows us to consider objects of national culture in their historical dynamics as a reconstruction of stable symbolic structures that preserve the national identity core. The study raises the conceptual issue of “ethnicity” and “nationality”, as Anthony Smith’s very position is conceptually opposed to the ideas of both constructivists and supporters of primordialism. The scholar believes that the cultural basis of a nation, its current state depends on “previous development”, on cultural traditions, language and ethnic symbols. Thus, the issues of cultural and national identity appear to be correlated in the aspect of tradition and modernity problem. Craft as a cultural phenomenon of one or another nation bears the stamp of ethnogenesis, in which the whole complex of social dynamics, conditioned by the ontological nature of various forms of human community, participates. Pierre Bourdieu’s theory of socio-analysis on the two-structure society, consisting of production practices and “symbolic matrices” involved in sociogenesis, allows us to use its principles as a methodological approach to the study of both traditional crafts and their modern forms in the aspect of issues of cultural identity, the modernization of the past, the revival of traditional experience, etc. The analysis of some trends in contemporary Kazakh craft has shown that the aspiration for identity to a cultural “pattern” is oriented towards established ethno-cultural symbols. Ethno-symbolic discourse makes the semiotic attitude to traditional symbolism topical. It can be said with confidence that the ethno-symbolic approach opens up new opportunities to consider craft and traditional art as factors influencing the formation and preservation of cultural identity. This article was prepared as part of the Ministry of Education and Science of Kazakhstan project AR09259862 “Research of Traditional Crafts of Modern Kazakhstan: State and Search for Preservation”.

The ontology of creation: towards a philosophical account of the creation of World in innovation processes

The starting point of this article is the observation that the emergence of the Anthropocene rehabilitates the need for philosophical reflections on the ontology of technology. In particular, if technological innovations on an ontic level of beings in the world are created, but these innovations at the same time create the Anthropocene World at an ontological level, this raises the question how World creation has to be understood. We first identify four problems with the traditional concept of creation: the anthropocentric, ontic and outcome orientation of traditional concepts of creation, as well as its orientation of material fabrication. We subsequently develop a progressive concept of World creation with four characteristics that move beyond the traditional conceptuality: (1) a materialistic concept of creation that accounts for (2) the ontogenetic process and (3) the ontic and ontological nature of creation, and (4) is conceptualized as semantic creation of the World in which we live and act.

Пластические приемы и формообразование: синтез в советском монументальном искусстве 1960–1980-х годов

The article identifies the constant composition of shape forming. The theoretical concept establishes the context of monumental art production. The subject of the study is the specificity of plastic techniques that determine the structure of the visual in monumental art in terms of the process and results. The relevance of the research lies in expanding the topology of the definition of a technique in the context of monumental art. A technique is assigned a normative definition of support and technical nature in relation to artistic practice. In the context of the monumental, a technique instrumentalizes synthesis, for which reason it has an ontological value in the interrelation of a technique and shape forming in art and architecture. The research is conducted on the example of the Soviet monumental art. The purpose of the article is to highlight the objectivity of the aspects and factors that define shape forming in monumental art. The factors and techniques determined in the course of the study create “nodes”, the connection and generative interaction of which outline the specifics of the monumental. The research methodology includes factor analysis that reveals essential aspects of plastic techniques in the theory and practice of the Soviet monumental art. The conducted analysis allows making conclusions about the specifics of the form which is conditioned by complex interrelations and the synthesis of the selected constants, techniques, and factors; about the ontological nature of plastic techniques; and about the complexity of systematic interaction, which is conceptually equated with an ornament, at the procedural and productive levels of the multiplicity of factors/ techniques. Synthesis is a core concept in monumental art. Its composition is hidden in the multidimensionality of the rational and the technical, the subjective and the creative, which are expressed in plastic techniques. The conceptual significance of techniques is implicitly confirmed by the statements of experts, theorists, and participants in the artistic process. The implicitness of a technique is associated with the integration of a scheme into the structure of an image/space. The plasticity of techniques paradoxically incorporates a complex of conditions of the architectural context, micro and macroscale, and cultural encodings of artistic traditions. In the context of the study, the fundamental constants of production are highlighted (e.g. context, form, abstraction, conventionality, spatiality, pauses, color, shape forming, and ornament), which are the conditions for the productive synthesis of the monumental. A technique is instrumentally involved in the processes and results of creating a form/space, depends on the specifics of materials, and is immersive. As a result, with its own plastic systematics, it strengthens the artistic image and implements the ornament concept in a space. The structural principle of the article is a sequence of constants outlining the conceptual expansion of plastic techniques.

월리스 스티븐스의 시학으로 셰이머스 히니 시의 블랙버드 사유하기

The paper is to analyze and apply to Seamus Heaney’s “blackbird” poems with Wallace Stevens’s poetics on “Thirteen Ways of Looking at a Blackbird.” The latter is distinguished from the romantic traditional bird-related poems and does not demonstrate common personification or immersion in emotions. Regardless of prejudice of the number 13 and black, which symbolize ominous signs or death images, Stevens attempts to represent the true characteristics of symbols in nature without exaggeration or extended interpretation, presenting the reality of nature as it is, challenging human abstractions of nature. In “Blackbird of Glanmore,” which Heaney’s traumatic memories are immanent, a blackbird gives an opportunity to meditate on his life journey. The fable-like poem, “St. Kevin and Blackbird” provides our understanding and contemplating his coexistence with the bird. As an envoy of nature, blackbirds offer a variety of material, intellectual, philosophical and spiritual meanings to poets and humans. A sense of fatality, cyclical life, and ontological nature of nature which is unmatched by any human culture, are clearly connoted in the works of both poets. (Mokwon University)

The two-fold nature of constitutional ontology from the perspective of the pure theory of law

The subject of the article is the issue of the political nature of the constitution and its scientific description from the point of view of pure Kelsen’s theory of law. We propose in it the thesis that although politics is not an object of legal knowledge, it is a necessary condition of the ontology of constitution. According to this theory, the cognition and description of the constitution (metaphorically speaking: its epistemology) relate to the content of valid norms, while its ontology consists of two elements: legal authorization and political will. The ontology of the constitution has a two-fold character: first, its creation and effectiveness is based primarily on the will of the constitution’s creator and on the will of entities applying the constitution (political aspect); secondly, its objectively validity presupposes that the creator of the constitution has a normative authorization to establish it (legal aspect). The inclusion by pure theory of law of the political at the ontological level is concomitant with its complete removal from the epistemological field. the consequence of such a cleansing of the cognitive field is, firstly, the dependence of the description on the condition of efficacy, i.e. ultimately on the acts of will of the subjects performing the functions of state organs, and, secondly, the ‘defencelessness’ in the event that the legal researcher finds a content incompatibility between the constitution and the acts of its application.

Becoming Cleopatra

This article investigates the ramifications of the word ‘become’ as it is deployed in Antony and Cleopatra, the term being invested with several distinct meanings which Shakespeare pursues the implications of and at the same time plays off against one another. It is argued that the play is deeply concerned with questions of an ontological nature, and that the contraposition between the rival perspectives of Rome and Egypt reflects a tension between the different conceptions of being, becoming, and identity articulated within it.

Bias in Numbers Part 1: The Ontological Nature of 0, Real Numbers and ∞

Bias in Numbers Part 1: The Ontological Nature of 0, Real Numbers and ∞

Of rivers, law and justice in the Anthropocene

AbstractBeginning in the 2010s, rivers have captured the legal imagination of judges, legislators and activists alike, as part of a rapidly growing phenomenon described by UN Special Rapporteur on human rights and the environment, David Boyd as ‘a legal revolution that could save the world’. Investigating river cases in jurisdictions as diverse as Aotearoa New Zealand, Colombia, India, the United States and Australia, and following Nicole Graham's suggestion that the non‐human world is constantly reconstituted within an all‐encompassing legal cosmology for which any observable ‘thing’, any ‘object’, any landscape, is always, inherently, and inevitably a ‘lawscape’, this paper explores the legal and the ontological nature of ‘the river’. By casting traditional riparian doctrines against novel rights of Nature judgments, the paper highlights the interconnected and interdependent legal relationship between artificially construed human and non‐human worlds, and observes a series of perceptible generational shifts in the legal and ontological treatment of rivers, from an abstract near‐neglect, to a rights‐based discourse, and ending (for the moment at least) in a deeply relational re‐conceptualisation.

Limitations Of The SDGs In The Light Of A Zakat Approach In Terms Of Resilience

The aim of the study is to explore the limits of SDGs in the light of a zakat approach in terms of resilience. It is based on the progress of research in philosophy of science, anthropology, mesology, and collapsology, by considering the phenomenon of zakat in its ontological dimension as a level of analysis. Among the main results of the study, the following should be noted: (i) the SDGs convey an underlying epistemological model based on the growth of endless production, which itself feeds on the ex nihilo creation of money; (ii) Associating zakat, as a component of social finance, with the SDGs amounts to submitting it to a global financial system based on ex nihilo monetary creation; (iii) The assimilation of zakat into a means of financing contributes to the financialization of Muslim societies life to comply with the requirements to financial structures and logics. The study concludes by arguing the following: (i) the results obtained reveal the limitations of the linear approach of riba as a purely technical solution that does not consider the ontological nature of the mainstream financial system; (iii) Zakat is a multidimensional phenomenon which strengthens the resilience of populations to shocks through the creation of own worlds (milieu, umwelt); (iii) Zakat cannot be reduced to a financing modality to fill the SDGs funding gap, as suggested by UN, World Bank and OECD.

The Potential of a Thick Present through Undefined Causality and Non-Locality.

This paper elaborates on the interpretation of time and entanglement, offering insights into the possible ontological nature of information in the emergence of spacetime, towards a quantum description of gravity. We first investigate different perspectives on time and identify in the idea of a “thick present” the only element of reality needed to describe evolution, differences, and relations. The thick present is connected to a spacetime information “sampling rate”, and it is intended as a time symmetric potential bounded between a causal past of irreversible events and a still open future. From this potential, spacetime emerges in each instant as a space-like foliation (in a description based on imaginary paths). In the second part, we analyze undefined causal orders to understand how their potential could persist along the thick present instants. Thanks to a C-NOT logic and the concept of an imaginary time, we derive a description of entanglement as the potential of a logically consistent open choice among imaginary paths. We then conceptually map the imaginary paths identified in the entanglement of the undefined orders to Closed Time-like Curves (CTC) in the thick present. Considering a universe described through information, CTC are interpreted as “memory loops”, elementary structures encoding the information potential related to the entanglement in both time and space, manifested as undefined causality and non-locality in the emerging foliation. We conclude by suggesting a possible extension of the introduced concepts in a holographic perspective.

Temporo-spatial Theory of Consciousness (TTC) – Bridging the gap of neuronal activity and phenomenal states

Consciousness and its neural mechanisms remain a mystery. Current neuroscientific theories focus predominantly on the external input/stimulus and the associated stimulus-related activity during conscious contents. Despite all progress, we encounter two gaps: (i) a gap between spontaneous and stimulus-related activity; (ii) a gap between neuronal and phenomenal features. A novel, different, and unique approach, Temporo-spatial Theory of Consciousness (TTC) aims to bridge both gaps. The TTC focuses on the brain’s spontaneous activity and how its spatial topography and temporal dynamic shape stimulus-related activity and resurface in the corresponding spatial and temporal features of consciousness, i.e., ‘common currency’. The TTC introduces four temporo-spatial mechanisms: expansion, globalization, alignment, and nestedness. These are associated with distinct dimensions of consciousness including phenomenal content, access, form/structure, and level/state, respectively. Following up on the first introduction of the TTC in 2017, we review updates, further develop these temporo-spatial mechanisms, and postulate specific neurophenomenal hypotheses. We conclude that the TTC offers a viable approach for (i) linking spontaneous and stimulus-related activity in conscious states; (ii) determining specific neuronal and neurophenomenal mechanisms for the distinct dimensions of consciousness; (iii) an integrative and unifying framework of different neuroscientific theories of consciousness; and (iv) offers novel empirically grounded conceptual assumptions about the biological and ontological nature of consciousness and its relation to the brain.

One God, Two Powers, and the Rabbinic Rejection of Subordinationism

Abstract This article furthers our understanding of rabbinic theology through an examination of its characteristic modes of expression. I demonstrate that although the rabbinic literature frequently polemicizes against perceived deviant theologies, it refrains from explicit expressions of God’s unity. This disinclination derives from the target and intent of rabbinic theological polemic. The rabbis’ opponents were not Christian binitarians who believed in multiple divine persons, but what I will refer to as Jewish subordinationists who believed in created divine agents through which God acts in the world. The rabbis were therefore less concerned with the ontological nature of God’s unity than they were with distancing all other beings from God’s sole sovereignty. My work provides additional textual support for the growing scholarly consensus that Jewish proponents of Logos theologies were among the rabbis’ earliest opponents, but it challenges the current convention that interprets these theologies in a primarily Christian binitarian context.