Unity and Aspect has been short-listed as a finalist for the 2019 Prix Mercier.
What is first philosophy today? In Unity and Aspect, the questioning begins with a new (old) approach to metaphysics: being is implied; it is implied in everything that is; it is an implication. But then, the history of philosophy must be rethought completely – for being implies unity, and time, and the other of time, namely, aspect. The effect on the self and on self-understanding is radical: we can no longer be thought as human beings; rather, reaching back to the ancient Greek name for us (phos), Haas seeks to rearticulate us as illuminating, as illuminating ourselves and others, and as implicated in our illuminations. Unity and Aspect then provokes us to problematize words and deeds, thoughts and things – and this means reconsidering our assumptions about history and survival, meaning and universality, sensibility and intimacy, knowledge and intentionality, action and improvisation, language and truth. And if Haas suspends the privilege enjoyed by our traditional philosophical concepts, this has implications for fields as diverse as ontology and phenomenology, ethics and aesthetics, education and linguistics, law and politics.
Review of Unity and Aspect by Mark Tanzer:
“Haas’ book is unique...his own foray into metaphysics...an original metaphysics written in a way that is designed to afford a unique angle on the problems of metaphysics, specifically in their ineluctably problematic character”.
In the chapter the main philosophical ideas of the American pragmatists - Ch.S. Peirce, W. James, J. Dewey - are exposed.
A largely unquestioned assumption of (musical) aesthetics holds that art should imitate nature or try to reproduce in its own sphere the effects of natural beauty on the perceiver. The paper introduces a third dimension of the concept of beauty: 'cultural beauty', designating objects of art which have aesthetic value because of their relation to the culture we live in.
The close conceptual tie between music and nature originated in the aesthetic debates of the 18th century. Even Adorno is still indebted to this basic tenet of romanticism. Compositions by Ives (Central Park in the Dark) and Cage (Concert for Piano) negate this close connection between music and nature as a place of order: They relate to the world we live in and mirror its fragmentary, chaotic reality. Therefore, only if we take them to have cultural beauty, may we understand them properly.
The article is devoted to the analysis of establishing an objective (material) truth in criminal procedure, the author argues on choice of the correct positions in some life situations related to the criminal process.
This article touches upon some problems in building up a lexicon for the part of universal ontology which accounts for force interactions. We have chosen certain semantic features in the lexical description as dominant ones and conducted a small survey among native speakers of Russian to prove the results.