What Heraclitus and Parmenides have in common on Reality and Deception

It is usually assumed that Heraclitus is, exclusively, the philosopher of flux, diversity and opposition while Parmenides puts the case for unity and changelessness. However, there is a significant common understanding of things (though in differing contexts), not simply an accidental similarity of understanding. Both philosophers, critically, distinguish two realms: on the one hand, there is the one, common realm, identical for all, which is grasped by the ‘logos that is common’(Heraclitus) or the steady nous (Parmenides) that follows a right method in order to interpret the real. On the other hand, the realm of multiplicity seen and heard by the senses, when interpreted by ‘barbarian souls’, is not understood in its common unity. Analogously, when grasped by the wandering weak nous it does not comprehend the real’s basic unity. In this paper I attempt to defend the thesis that both thinkers claim that the common logos (to put it in Heraclitean terms) or the steady intellect (to say it with Parmenides) grasp and affirm the unity of the real.

The British War Film

An outline of the British War film from beginning of cinema.

‘Why are there always three?’: The Gothic Occult in Dario Argento’s Three Mothers Trilogy

Thomas De Quincey’s essay ‘Levana and Our Ladies of Sorrow’ provided Dario Argento with the spark of an idea, which was further ignited by tales from his then wife, Daria Nicolodi, who told him of her grandmother’s stay at a music school which was run by a coven of witches. From these sources Argento came up with the mythology of The Three Mothers, which were to feature in three of his films: Suspiria (1977), Inferno (1980) and La terza madre/The Mother of Tears (2007). This article will examine the occult and esoteric sources of The Three Mothers trilogy, and explore how these references work to create a series of films that may superficially appear to use the supernatural and occult to create scares, but actually incorporate elements of Western Esotericism rather than traditional Christian images of evil. By doing this, these films transcend their apparent flaws (in terms of shallow plot and character development, a common complaint directed toward many Italian horror films) and instead imbue the mise-enscene itself with meaning, character and narrative. Although the films are situated within the Gothic genre, and in many respects follow traditional Gothic lines with witchcraft and the occult becoming synonymous with evil, I will argue that the films actually belong to the long tradition of art forms that have attempted to investigate the allure and the danger of occult exploration.

Drawing in Duos: The Journeys and Intersections Collaboration Project Between Istanbul and Worcester

This paper focuses on a collaborative drawing project carried out between two undergraduate drawing courses, one in İstanbul and the other in Worcester, during the Fall 2015 semester. Duos -teams of two working remotely- took turns to work on the same drawing in correspondence for three months by means of communication and sharing the changing images on-line with one another. The project introduced a collaborative method of learning based on drawing, initiated cultural exchange and cooperation. The role of drawing in the project was critical due to the direct but gradual nature of transmitting meaning onto paper. Outcomes of this project consisted of a flexible and playful creation process for students making use of the element of chance. They sought alternate ways to finalize a drawing and experienced the benefits of artistic co-production. The project has the capacity to inspire artists, instructors and others interested in creative partnership in different disciplines and can be of value as an educational model.

Evaluating historic graffiti based on cultural significance and definitions of art.

Many examples of historic graffiti have been shown to be worthy of attention and conservation. The examples discussed in this article have been selected for their previous academic study, enabling rational assessment. This work does not suggest that only those examples of historic graffiti that have been subject to academic investigation can be evaluated and classified. This article, the result of a collaboration between two individuals with complementary interests in building conservation and contextual studies in art and design, brings together formal techniques used in the assessment of cultural significance in traditional architectural conservation and established theories in the evaluation of art. It is the purpose of this work to help those who are attempting to evaluate the merit of graffiti to do so. The current Scottish system that assesses cultural significance may be incomplete in its evaluation of graffiti. This necessitates a supplementary investigation of the artistic characteristics and merit of graffiti. Almost all graffiti could be said to be 'art', using established definitions, but not 'good' art. This evaluation may only be undertaken by experts, as with other aspects of identification of cultural significance within the built environment.

Pivoting the player: a framework for player character research in offline computer role-playing games

This article introduces a theoretical framework for the analysis of the player character (PC) in offline computer role-playing games (cRPGs). It derives from the assumption that the character constitutes the focal point of the game, around which all the other elements revolve. This underlying observation became the foundation of the Player Character Grid and its constituent Pivot Player Character Model, a conceptual framework illustrating the experience of gameplay as perceived through the PC’s eyes. Although video game characters have been scrutinised from many different perspectives, a systematic framework has not been introduced yet. This study aims to fill that void by proposing a model replicable across the cRPG genre. It has been largely inspired by Anne Ubersfeld’s semiological dramatic character research implemented in Reading Theatre I (1999) and is demonstrated with reference to The Witcher (CD Projekt RED 2007).

Mauthner versus Wittgenstein

Mauthner esteemed language as a philosophical inquiry. He measured the philosophical entailments between language and reality and the consequent knowledge produced by such entailments. He questioned language’s aptitude to express and represent reality and, according to him, language is a critical source of knowledge and an unfaithful representation of reality, because there is a gap between language and reality, i.e. language distorts perception and engenders false and fictitious assumptions about reality. Language fosters superstition, creates gods and idols and exerts a dominating power over the intellect. Mauthner pointed out a critique of language based on metaphors, which would serve to address and clarify the deformation of reality. Wittgenstein, unlike himself suggested, was inspired by Mauthner. Both showed interest toward the critical analysis of language and there are many conceptual similarities between their language’s conceptions (e.g. concerning the use of metaphors to understand language). Therefore, this paper seeks a) to emphasize Mauthner’s metaphors on language as an accurate interpretation regarding the philosophical entailments between language and reality, and b) to demonstrate the epistemological legacy of Mauthner’s critique of language to Wittgenstein’s philosophy of language.

Discurso pronunciado en la inauguración de los cursos del Bachillerato en Bibliotecología y Documentación en la Escuela de Bibliotecología de la Universidad Nacional

En este día, se me ha concedido el honor de dirigirme a ustedes, con unas palabras de recibimiento al inicio de este curso lectivo. Pero más que eso, desearía que ocupáramos este tiempo, en hacer una reflexión acerca del reto que nos presenta un nuevo año lectivo. Reto que está sin lugar a dudas, lleno de expectativas y grandes deseos de alcanzar objetivos que nos hemos propuesto, para el beneficio de nuestra vida personal y profesional. Reto que se presenta, tanto para el Docente el cual está llamado a cumplir con su misión de educador, como para el estudiante, quien decidió voluntariamente acercarse a las aulas universitarias, a cultivar su intelecto y a perfeccionar su desarrollo integral como individuo.

Guía didáctica de geometría plana en las unidades didácticas de: triángulos y cuadriláteros para los estudiantes de la carrera de Matemáticas y Física de la Universidad de Cuenca

El presente trabajo titulado Guía Didáctica de Geometría Plana en las Unidades Didácticas de: Triángulos y Cuadriláteros para los estudiantes de la Carrera de Matemáticas y Física de la Universidad de Cuenca ha sido diseñado para fortalecer el proceso de enseñanza-aprendizaje en el primer ciclo de la carrera con el objetivo de facilitar la comprensión de la asignatura al momento de relacionar la teoría con la práctica. En el primer capítulo se da a conocer de manera general los antecedentes históricos de la Geometría Plana, la importancia de aplicar corrientes pedagógicas innovadoras como la del Constructivismo y la aplicación de la teoría del aprendizaje significativo en la educación actual, las dificultadesen el aprendizaje de la Geometría Plana,el valor de utilizar recursosdidácticos en el aulade clase y la importancia de las guías didácticas para el aprendizaje. En el segundo capítulo se desarrolla el diagnóstico de la propuesta mediante la aplicación de una encuesta, la misma que evidencia las razonespor las cuales los estudiantes de la Carrera de Matemáticas y Física presentan un bajo rendimientoen la asignatura de Geometría Plana, además de la factibilidad del uso de una guía didáctica como complemento en el proceso de enseñanza-aprendizaje. Finalmente, el tercer capítulo está compuesto por once prácticas en los temas de triángulos y cuadriláteros, las mismas que están elaboradas de una manera secuencial, de modo que guíen al estudiante y reten su intelecto mediante actividades dinámicas con el apoyo de la manipulación de material didáctico.

Autarcie radicale et autarcie dérivée chez Proclus : le problème de l’autarcie de l’âme par illumination

Louis-André Dorion, dans un article publié en 2006 « Platon, Proclus et l’autarcie du monde », affirme que le concept d’autarcie dérivée de Proclus est un non-sens. Nous montrerons dans cet article que, loin d’être aporétique, le concept d’autarcie dérivée est tout à fait cohérent avec le système philosophique de Proclus. Pour défendre notre thèse, nous nous intéresserons spécifiquement à l’autarcie de l’âme, à travers le phénomène d’illumination suivant le processus de purification de l’âme séparable chez Proclus, rendant compte du caractère autoconstitutif de l’âme. Ainsi, nous comprendrons en quoi l’ontologie proclusienne permet de saisir les hypostases (Un, intellect et âme), non pas dans un rapport de causalité unilatérale hiérarchique, mais plutôt selon une dialectique de procession centrifuge et de conversion centripète. Finalement, il nous sera possible d’exposer que l’idée de dérivation ne contredit pas l’essence de l’autarcie, mais en est plutôt sa propre condition de possibilité.

Homesick for the unheimlich: back to the uncanny future in Alien: Isolation

In 2014 Sega released Creative Assembly’s Alien: Isolation, a video game sequel to the 1979 film Alien. As an attempt to create both an authentic homage to the Alien franchise and a credible successor to Ridley Scott’s original film, Alien: Isolation was received as both a work of remediated nostalgia and as a deeply uncanny survival horror. This article discusses Alien: Isolation framed by theories of the uncanny (the unhomely) and of nostalgia (the homely), with the aim of revealing how the production design of the game reconciled these seemingly contradictory but nonetheless overlapping aesthetic qualities. By drawing on examples from Alien: Isolation’s visual and level design, this article discusses how the integration of nostalgic and uncanny qualities could be of value to horror and sci-fi game design, in particular to the development of sequels within existing franchises, and to remediations, remakes and reboots.

Autarcie radicale et autarcie dérivée chez Proclus : le problème de l’autarcie de l’âme par illumination

Louis-André Dorion, dans un article publié en 2006 « Platon, Proclus et l’autarcie du monde », affirme que le concept d’autarcie dérivée de Proclus est un non-sens. Nous montrerons dans cet article que, loin d’être aporétique, le concept d’autarcie dérivée est tout à fait cohérent avec le système philosophique de Proclus. Pour défendre notre thèse, nous nous intéresserons spécifiquement à l’autarcie de l’âme, à travers le phénomène d’illumination suivant le processus de purification de l’âme séparable chez Proclus, rendant compte du caractère autoconstitutif de l’âme. Ainsi, nous comprendrons en quoi l’ontologie proclusienne permet de saisir les hypostases (Un, intellect et âme), non pas dans un rapport de causalité unilatérale hiérarchique, mais plutôt selon une dialectique de procession centrifuge et de conversion centripète. Finalement, il nous sera possible d’exposer que l’idée de dérivation ne contredit pas l’essence de l’autarcie, mais en est plutôt sa propre condition de possibilité.