Machines Ramon Llull and the Ars Combinatoria
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Bibliography Where more than one work by an author or editor is included, the references are sorted chronologically. For Latin titles, the early modern notation including punc- tuation is principally maintained, ie ligatures (eg æ) are resolved (except &), u and v are normalized according to their phonetic value, and periods after cardinal num- bers and accents are not reproduced. E caudata and abbreviations are resolved, with the latter having their abbreviation sign removed and the complement placed in parentheses. Capitalization is left unchanged only for proper nouns in the broadest sense. Emphasis in titles, academic titles of authors, dedications, and information regarding printer or publisher are generally not included. The abbreviated forms used in footnotes for encyclopedias, periodicals and cer- tain works by Niels Stensen reproduced in later editions can be found under Abbreviations, A . In citations from primary sources, emphasis corresponds to that of the source material. In citations from early modern prints, page breaks are also identifi ed. In all other regards, citation of Latin sources follows the practice for references men- tioned above. For sources in Italian, u and v are normalized according to their phonetic value. For individual Latin terms taken out of their source context, case and person are either matched to the syntax of the English translation into which the respective term is inserted, or are cited in the basic grammatical form derived from the original passage. Archive Materials Included here are the prints listed in Bibliography, C for which only one copy could be verifi ed, as well as the signatures of the prints used for the illustrations in this book (cf. -
B Philosophy (General) B
B PHILOSOPHY (GENERAL) B Philosophy (General) For general philosophical treatises and introductions to philosophy see BD10+ Periodicals. Serials 1.A1-.A3 Polyglot 1.A4-Z English and American 2 French and Belgian 3 German 4 Italian 5 Spanish and Portuguese 6 Russian and other Slavic 8.A-Z Other. By language, A-Z Societies 11 English and American 12 French and Belgian 13 German 14 Italian 15 Spanish and Portuguese 18.A-Z Other. By language, A-Z 20 Congresses Collected works (nonserial) 20.6 Several languages 20.8 Latin 21 English and American 22 French and Belgian 23 German 24 Italian 25 Spanish and Portuguese 26 Russian and other Slavic 28.A-Z Other. By language, A-Z 29 Addresses, essays, lectures Class here works by several authors or individual authors (31) Yearbooks see B1+ 35 Directories Dictionaries 40 International (Polyglot) 41 English and American 42 French and Belgian 43 German 44 Italian 45 Spanish and Portuguese 48.A-Z Other. By language, A-Z Terminology. Nomenclature 49 General works 50 Special topics, A-Z 51 Encyclopedias 1 B PHILOSOPHY (GENERAL) B Historiography 51.4 General works Biography of historians 51.6.A2 Collective 51.6.A3-Z Individual, A-Z 51.8 Pictorial works Study and teaching. Research Cf. BF77+ Psychology Cf. BJ66+ Ethics Cf. BJ66 Ethics 52 General works 52.3.A-Z By region or country, A-Z 52.5 Problems, exercises, examinations 52.65.A-Z By school, A-Z Communication of information 52.66 General works 52.67 Information services 52.68 Computer network resources Including the Internet 52.7 Authorship Philosophy. -
Connecting Science and Wisdom Derstood Them in Her Lifetime
ew concepts are so rich in meaning and at the same time so open to a diversity of interpretations as is “nature.” “Na- ture” refers to the immense reality in which every thing and Fperson exists and of which they constitute an integral part. It is precisely this reality of nature that I will discuss, tracing briefly The “Book of Nature” some of its characteristics as Chiara Lubich experienced and un- Connecting Science and Wisdom derstood them in her lifetime. The term “nature” generally refers to all existing things, with Sergio Rondinara particular regard to their objective configuration and their essen- Sophia University Institute tial constitutive principles. This connection between totality and essentiality—as the etymology of the word “nature” suggests1—is also found in Chiara’s reflections. Their deeply theological charac- Rondinara explores the reality of nature, both in its totality and in ter must be understood not so much as human speech about God its essence, from different perspectives. In so doing, he discusses how and the divine mystery but in their proper meaning as a subjective Chiara Lubich envisions nature in relation to God and humankind. genitive—a word that is both noun and verb.2 In language that First, he examines the God- nature relation as Chiara understood it, as seems ordinary, her texts shine with clarity and incisiveness. They both immanent and transcendent. Then, he turns to Chiara’s notion of offer God’s vision of things and of the natural world, a contempla- nature as an ongoing “event” in history leading to the recapitulation of tive gaze that—metaphorically speaking—comes from the “eyes of all things in God. -
Download Apology for Raymond Sebond 1St Edition Free Ebook
APOLOGY FOR RAYMOND SEBOND 1ST EDITION DOWNLOAD FREE BOOK Michel de Montaigne | --- | --- | --- | 9780872206793 | --- | --- Raymond of Sabunde Erik Olin Wright and John Gastil. Also available from:. May 03, Omri rated it really liked it Shelves: Esteban del Mal rated it it was amazing Jan 16, Altaa rated it it was amazing Nov 05, Nate Slawson rated it it was amazing Feb 01, Under the pretense of defending an obscure treatise by a Rraymond theologian, Sebond, Montaigne attacks the philosophers who attempt rational explanations of the universe and argues for a skeptical Christianity based squarely on faith rather than reason. His Theologia Naturalis sive Liber naturae creaturarum, etc. Last edited Apology for Raymond Sebond 1st edition ImportBot. Michel Eyquem de Montaigne was one of the most influential writers of the French Renaissance. The America Syndrome. Montaigne is known for popularizing the essay as a literary genre. In one page he's say There were a lot of parts of this "essay" by Montaigne that are mediocre at best and plainly stupid and wrong at worse. Creative Mind. These cookies do not store any personal information. In Apology for Raymond Sebond 1st edition, Montaigne writes with such clarity and insight that his work should actually be read before taking on other more developed, although more convoluted, writers and thinkers. Original Title. Ivan Self rated it really liked it Aug 07, Finding the 1, Books to Read in a Lifetime. Tales from the Tao. He was brought up to speak Latin as his mother tongue and always retained… More about Michel de Montaigne. Other Editions Buy other books like An Apology for Raymond Sebond. -
1508 Fascicule VIII James Gray Booksellers LLC 46
Incunabula 1473- ≠1508 fascicule VIII Aug MMXVII James Gray Booksellers LLC 46 Hobbs Road Princeton Ma [email protected] 617-678-4517 617-678-4517 James Gray Bookselles LLC [email protected] 0 All books subject to prior sales. Prices in U.S Dollars Credit cards encouraged 617-678-4517 James Gray Bookselles LLC [email protected] 1 1) 945G Eusebius of Caesarea c. 260-c. 340 Eusebius Pa[m]phili de eua[n]gelica preparac[i]o[n]e ex greco in latinu[m] translatus Incipit feliciter. [ Cologne, Ulrich Zel, not after 1473] $18,000 Folio 10 ¾ x 7 ¾ inches. [a]12, [b-o]10, [p]8 One of the earliest editions, (editio princeps : Venice 1470) This copy is bound in a modern binding of half vellum with corners, flat spine (spine renewed, boards slightly rubbed, inside joints split). This copy contains the fifteen books of the “Praeparatio evangelica,” whose purpose is “to justify the Christian in rejecting the religion and philosphy of the Greeks in favor of that of the Hebrews, and then to justify him in not observing the Jewish manner of life [...] The following summary of its contents is taken from Mr. Gifford’s introduction to his translation of the “Praeparitio: “The first three books discuss the threefold system of Pagan Theology: Mythical, Allegorical, and Political. The next three, IV-VI, give an account of the chief oracles, of the worship of demons, and of the various opinions of Greek Philosophers on the doctrines of Fate and Free Will. Books VII-IX give reasons for preferring the religion of the Hebrews founded chiefly on the testimony of various authors to the excellency of their Scriptures and the truth of their history. -
La Matemàtica De La Història
LA MATEMÀTICA DE LA HISTÒRIA 0 1 Introducció En aquest treball he investigat la teoria d’Alexandre Deulofeu anomenada La Matemàtica de la Història que, a diferència de la versió oficial, planteja que la Història és cíclica i que per tant si coneixem el nostre passat i el nostre present, podem predir els successos futurs. Vaig conèixer aquesta teoria fa un temps quan vaig veure al canal TV3 un programa que anunciava la desintegració de l’Imperi espanyol l’any 2029. Aquesta previsió em va generar curiositat però no va ser fins la realització d’aquest treball que vaig esbrinar els mecanismes d’aquesta teoria que van portar Deulofeu a predir l’anterior afirmació. Un dels meus objectius principals en aquest treball ha estat dominar la teoria i poder arribar a una conclusió ferma sobre si la Història és o no cíclica, però m’he vist incapaç de respondre a aquesta qüestió. 2 Índex Introducció ........................................................................................................................ 2 Agraïments ........................................................................................................................ 5 Esbós bibliogràfic de l’autor de la teoria ............................................................................ 7 La matemàtica de la Història ............................................................................................. 8 Orígens de la teoria .................................................................................................................... 9 La teoria de la matemàtica -
Faith After the Anthropocene
Faith after the the after Anthropocene Faith • Matthew Wickman and Sherman Jacob Faith after the Anthropocene Edited by Matthew Wickman and Jacob Sherman Printed Edition of the Special Issue Published in Religions www.mdpi.com/journal/religions Faith after the Anthropocene Faith after the Anthropocene Editors Matthew Wickman Jacob Sherman MDPI • Basel • Beijing • Wuhan • Barcelona • Belgrade • Manchester • Tokyo • Cluj • Tianjin Editors Matthew Wickman Jacob Sherman BYU Humanities Center California Institute of Integral Studies USA USA Editorial Office MDPI St. Alban-Anlage 66 4052 Basel, Switzerland This is a reprint of articles from the Special Issue published online in the open access journal Religions (ISSN 2077-1444) (available at: https://www.mdpi.com/journal/religions/special issues/ Faith Anthropocene). For citation purposes, cite each article independently as indicated on the article page online and as indicated below: LastName, A.A.; LastName, B.B.; LastName, C.C. Article Title. Journal Name Year, Article Number, Page Range. ISBN 978-3-03943-012-3 (Hbk) ISBN 978-3-03943-013-0 (PDF) Cover image courtesy of Andrew Seaman. c 2020 by the authors. Articles in this book are Open Access and distributed under the Creative Commons Attribution (CC BY) license, which allows users to download, copy and build upon published articles, as long as the author and publisher are properly credited, which ensures maximum dissemination and a wider impact of our publications. The book as a whole is distributed by MDPI under the terms and conditions of the Creative Commons license CC BY-NC-ND. Contents About the Editors .............................................. vii Matthew Wickman and Jacob Sherman Introduction: Faith after the Anthropocene Reprinted from: Religions 2020, 11, 378, doi:10.3390/rel11080378 .................. -
The Unshackling of the Spirit of Inquiry.'
THE UNSHACKLING OF THE SPIRIT OF INQUIRY.' BV DR. ERNSr KRAUSE (CARUS STERNE). IMPORTANT above all in the development we have been con- sidering was the growing opposition which arose against the prevailing methods of philosophy. Concerning the relation of thought to being, and of the concepts which we form of things to the real nature of these things, the idealism introduced by Plato had hitherto prevailed; that is, the view that the general concepts {jiniversalia) were actualities existing before and outside of the objects themselves, and were originally present in the Divine Mind as archetypes before their incorporation; and that from the Divine Mind they had emanated to the human mind, which is de- rived from it; whence it is possible through pure reason to find out the essence of things, that is, truth. These notions of the Idealists (who gave themselves the significant name of Realists), as we have seen, although they were somewhat limited by Aris- totle, had been opposed from olden times by the Stoics, for they had quite correctly recognised the notions of genus and species as mere abstractions {nomina), and in contrast to the so-called Real- ists were called Nominalists. This had been merely an academic dispute until the Church took the part of the Realists, and in 1092 at the Synod of Soissons condemned the canon, John Roscellinus of Compiegne and his teaching, because he had ventured to apply the nominalistic views to the conception of God. The dispute became especially warm, when the Franciscan, William of Occam, a pupil of Duns Scotus {^doctor subtilis), who was the opponent of Thomas Aquinas, refused to concede to the operations of the mind anything but their subjective existence and truth. -
Handbook on Judaica Provenance Research: Ceremonial Objects
Looted Art and Jewish Cultural Property Initiative Salo Baron and members of the Synagogue Council of America depositing Torah scrolls in a grave at Beth El Cemetery, Paramus, New Jersey, 13 January 1952. Photograph by Fred Stein, collection of the American Jewish Historical Society, New York, USA. HANDBOOK ON JUDAICA PROVENANCE RESEARCH: CEREMONIAL OBJECTS By Julie-Marthe Cohen, Felicitas Heimann-Jelinek, and Ruth Jolanda Weinberger ©Conference on Jewish Material Claims Against Germany, 2018 Table of Contents Foreword, Wesley A. Fisher page 4 Disclaimer page 7 Preface page 8 PART 1 – Historical Overview 1.1 Pre-War Judaica and Jewish Museum Collections: An Overview page 12 1.2 Nazi Agencies Engaged in the Looting of Material Culture page 16 1.3 The Looting of Judaica: Museum Collections, Community Collections, page 28 and Private Collections - An Overview 1.4 The Dispersion of Jewish Ceremonial Objects in the West: Jewish Cultural Reconstruction page 43 1.5 The Dispersion of Jewish Ceremonial Objects in the East: The Soviet Trophy Brigades and Nationalizations in the East after World War II page 61 PART 2 – Judaica Objects 2.1 On the Definition of Judaica Objects page 77 2.2 Identification of Judaica Objects page 78 2.2.1 Inscriptions page 78 2.2.1.1 Names of Individuals page 78 2.2.1.2 Names of Communities and Towns page 79 2.2.1.3 Dates page 80 2.2.1.4 Crests page 80 2.2.2 Sizes page 81 2.2.3 Materials page 81 2.2.3.1 Textiles page 81 2.2.3.2 Metal page 82 2.2.3.3 Wood page 83 2.2.3.4 Paper page 83 2.2.3.5 Other page 83 2.2.4 Styles -
Dalí, Picasso, Velázquez: Measuring up by ELLIOTT H
©Elliott H. King, 2015 Dalí, Picasso, Velázquez: Measuring Up By ELLIOTT H. KING “I’ve always said I’m a very bad painter because I’m too intelligent to be a good painter. To be a good painter, you’ve got to be a bit stupid, with the exception of Velázquez, who is a genius and whose talent surpasses the art of painting.” – Salvador Dalí[1] The year 1960 marked the 300th anniversary of the death of Spanish artist Diego Velázquez, in- citing a flurry of commemorative exhibitions, books, and other popular and scholarly studies around the globe.[2] The occasion could not have been overlooked by Spain’s two most promi- nent artists, Pablo Picasso and Salvador Dalí, each of whom executed his own reinterpretations of Velázquez’s paintings in the years directly preceding and following the tri-centennial. This essay considers these bodies of work, albeit in a somewhat round-about fashion. For Picasso, I will look, as a group, to the fifty-eight paintings he executed on the theme of Velázquez’s paint- ing Las Meninas (1656) in 1957, and for Dalí, to his handful of paintings and statements extoling Velázquez as a precursor to atomic physics and contemporary action painting, spearheaded by his 1958 canvas, Velázquez Painting the Infanta Margarita with the Lights and Shadows of His Own Glory. While I intend to compare and contrast the two artists’ approaches to Velázquez in the late-1950s and early-1960s, I have chosen a somewhat unorthodox framework to facilitate the question. Dali welcomed comparisons between his work and that of Picasso, whom he called the other great “genius” of Spain (in addition to himself).[3] Having reinvented himself as a “classic” painter in 1941, Dalí launched a barrage of defamatory statements and back-handed compliments against Picasso that pitted his own Renaissance-revival style against what he described in 1956 as Picasso’s “pure bestiality.”[4] From amongst Dalí’s myriad proclamations, I have located a rather fleeting one that strikes me as ranking amongst his most memorable and opaque. -
Antoni Clavé
Clavé, solitario y azul Josep Casamartina Corría el año 1963, cuando el escritor Ferran Canyameres publicó la primera biografía aparecida en España del pintor Antoni Clavé. Clavé, un solitari, es crita en catalán, era el cuarto volumen de las Biografies Populars de la desa parecida editorial Alcides y respondía a un proyecto del impresor, grafista, historiador y pintor sabadellense Andreu Castells. Tal como su nombre indi caba, Biografies Populars pretendía catalizar y dar a conocer en gran abasto la vida y obra de los principales protagonistas de la cultura catalana del siglo xx, desde los escritores Josep M. de Sagarra, Víctor Català, Carles Riba o el filó sofo Francesc Pujols, a los músicos Eduard Toldrà o Xavier Cugat y la soprano Victoria de los Ángeles, pasando por los artistas Joan Miró, Clavé y Manolo Hugué, el payaso Charlie Rivel, los actores Margarida Xirgu y Mario Cabré o los futbolistas Samitier y Kubala. La amplitud de miras y el espectro que se pretendía cubrir hablan por sí solos de la variopinta y completa selección. Entonces, Clavé ya era un pintor muy reconocido en el extranjero, sobre todo en Francia. El pequeño y compacto volumen de Canyameres quería con tribuir a difundir la personalidad del artista en su propio país, dado que, en el fondo, la figura de Antoni Clavé siempre había aparecido en su tierra natal —y, en cierta medida, aún continúa siendo— un poco aislada, empañada y dis tante; está y, a la vez, no está. Quizá por ese raro fenómeno, el biógrafo catalán lo bautizó de «solitario», tomando prestado de un crítico francés el adjetivo. -
Thinking Machines Ramon Llull and the Ars Combinatoria
03.11.2018 — 10.03.2019 Thinking Machines Ramon Llull and the ars combinatoria FR Thinking Machines. Ramon Llull and the ars combinatoria 03.11.2018 — 10.03.2019 Audacieuse, la nouvelle exposition présentée à l’EPFL ArtLab, Thinking Machines. Ramon Llull and the ars combinatoria, rapproche les méthodes d’investigation savantes, scientifiques et artistiques. Le parcours part du Moyen Âge et des œuvres de l’exceptionnel philosophe et théologien catalan Ramón Llull pour montrer l’influence de sa pensée dans les domaines allant de l’informatique à l’art moderne et contempo- rain. Les répercussions de la pensée Lullienne sur la culture et la technologie se retrouvent aussi dans la révolution pédagogique actuelle basée sur la « pensée computationnelle ». D’une durée de quatre mois, cette exposition offre un nouvel éclairage sur les technologies contem- poraines et leur développement à travers les âges sous l’influence des arts et des sciences. Elle invite à réfléchir à l’influence descombinatoires llulliens sur les principes génératifs et algorithmiques utilisés dans les technologies de pointe. Thinking Machines soulève enfin des questions éthiques quant à l’accumu- lation et au transfert d’informations via des systèmes intelligents. Organisée par le ZKM | Center for Art and Media Karlsruhe en collaboration avec le Centre de Cultura Contemporània de Barcelone – CCCB et l’EPFL | École polytechnique fédérale de Lausanne Thinking Machines a été imaginée par trois artistes et penseurs de re- nommées internationales : Professeur Amador Vega (Université Pompeu Fabra, Barcelone), Professeur Peter Weibel (ZKM | Karlsruhe) et Professeur Siegfried Zielinski (Université des arts de Berlin). Elle a été réa- lisée, pour son étape à l’EPFL, sous la supervision de la directrice d’ArtLab, la professeure Sarah Kenderdine.