Android Science и неомифологизм
The article is devoted to a comparison of robotics, аndroid science and some similar traits of modern neo-mythology‘s thinking. We compares the ideas of android (Humanlikeness) and early anthropomorphic myths. Particular attention is paid to the idea of modern man identity in the context of robotics and Android science.
The article is devoted to popular images of outer space, created by the media. On the one hand, the research and development of space exploration technologies, which began in the middle of the past century, were presented to the public in a heroic and futuristic manner and were welcomed.On the other hand, images of the "uncanny outer space" were found along with them, demonstrating frightening details of the possible dangers of outer space. The "uncanny outer space" image content, it’s cause and it’s spread consequences are the main research issues of the article. The above-mentioned issues are considered by the authors on examples of American Sci-Fi movies about Alien, namely the series of Ridley Scott movies: Alien (1979), Prometheus (2012), Alien: Covenant (Alien: Covenant, 2017). The authors investigate three episodes when Alien meets a man where the images of the "uncanny outer space" are presented: the Alien’s “birth” at the dinner table; detection of the "enemy" among the team members when it turns out that Ash, the science officer, is not a human, but an android; and the appearance of the Alien in the rescue capsule during Ripley’s preparations for hypersleep. The investigation of the "uncanny outer space" image, depicted in the subject films, focuses on the technical and biological aspects of the issue. The very notion of "uncanny" is reviewed in terms of relationof the “human” to the “non-human”, which allows us to discover that the "uncanny outer space" system is caused not by the fear of "cosmic void" and gathering the unknown. The human body, mind and identity when it comes to cosmic discourse become the reason for "uncanny outer space" image presentation while the outer space itself remains neutral. A sequential investigation of the films in chronological order also allows us to record the transformation of the "uncanny outer space"system related to the fear of biological invasion, typicalfor last third of the 20th century, to the fear of artificial intelligence technology that overcomes the threshold of human nature.
The article considers the Views of L. N. Tolstoy not only as a representative, but also as a accomplisher of the Enlightenment. A comparison of his philosophy with the ideas of Spinoza and Diderot made it possible to clarify some aspects of the transition to the unique Tolstoy’s religious and philosophical doctrine. The comparison of General and specific features of the three philosophers was subjected to a special analysis. Special attention is paid to the way of thinking, the relation to science and the specifics of the worldview by Tolstoy and Diderot. An important aspect is researched the contradiction between the way of thinking and the way of life of the three philosophers.
Tolstoy's transition from rational perception of life to its religious and existential bases is shown. Tolstoy gradually moves away from the idea of a natural man to the idea of a man, who living the commandments of Christ. Starting from the educational worldview, Tolstoy ended by creation of religious and philosophical doctrine, which were relevant for the 20th century.
The article is concerned with the notions of technology in essays of Ernst and Friedrich Georg Jünger. The special problem of the connection between technology and freedom is discussed in the broader context of the criticism of culture and technocracy discussion in the German intellectual history of the first half of the 20th century.
This important new book offers the first full-length interpretation of the thought of Martin Heidegger with respect to irony. In a radical reading of Heidegger's major works (from Being and Time through the ‘Rector's Address' and the ‘Letter on Humanism' to ‘The Origin of the Work of Art' and the Spiegel interview), Andrew Haas does not claim that Heidegger is simply being ironic. Rather he argues that Heidegger's writings make such an interpretation possible - perhaps even necessary.
Heidegger begins Being and Time with a quote from Plato, a thinker famous for his insistence upon Socratic irony. The Irony of Heidegger takes seriously the apparently curious decision to introduce the threat of irony even as philosophy begins in earnest to raise the question of the meaning of being. Through a detailed and thorough reading of Heidegger's major texts and the fundamental questions they raise, Haas reveals that one of the most important philosophers of the 20th century can be read with as much irony as earnestness. The Irony of Heidegger attempts to show that the essence of this irony lies in uncertainty, and that the entire project of onto-heno-chrono-phenomenology, therefore needs to be called into question.