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EN
The aim of this paper is to present a proof to the conclusion that is impossible to traverse an infinite series (in particular, an infinite series of past moments). This may also show (given additional assumptions) that the series of past moments cannot be infinite. In the first section I formulate five theses concerning traversing, successive addition and successive subtraction and I present the idea of the argument: if it were possible to traverse an infinite past, it should be in principle possible to go back, which is, however, impossible. The main body of the paper is concerned with working out a simple mathematical representation of some structural features of processes like traversing and successive addition. I also make a crucial distinction between completion of a process at a particular time and its timeless “completion” in infinite time. In section V, I present the formal proof and defend it against a possible objection of question-begging. Finally, I suggest that my argument can contribute to constructing arguments for God's existence, and to solving the problem of the asymmetry of our attitudes towards death and prenatal non-existence.
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Morality and The Three-fold Existence of God

75%
Forum Philosophicum
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2012
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vol. 17
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issue 1
27–47
EN
Arguments about the existence of a being who is infinite and perfect involve claims about a being who must appear in all the orders and dimensions of reality. Anything else implies finitude. Ideas about goodness seem inseparable from arguments about the existence of God and Kant's claim that such arguments ultimately belong to moral theology seems plausible. The claim that we can rely on the postulates of pure practical reason is stronger than many suppose. But one must show that a being who is infinite and perfect is even possible, and any such being must be present in the physical world as well as in what Pascal called the orders of the intellect and morality (which he called the order of charity). Indeed, locating God in the various orders without creating conflicts is problematic. Such arguments are necessarily difficult and sometimes self-defeating but I argue in this paper that there is a promising path.
EN
In this article, we will describe two theistic models of “paradoxical detachment” from the Presence of the Infinite, implying the coexistence of attachment and detachment. We will analyze two forms of Christianity-based paradoxical detachment: (a) being dependent on the Ground of soul, while being detached from the representations of the Infinite (Master Eckhart); (b) being absolutely dependent on the Infinite, while being detached from any religious morality (Friedrich Schleiermacher). The non- theistic mode of detachment from the Presence of the Infinite requires an absolute detachment. We will examine two forms of absolute detachment towards the Presence of the Infinite: on one hand, the all-encompassing emptiness in the Kagyu and Gelug lineages of Tibetan Buddhism; on the other hand, the Heideggerian notion of “groundless abyss.” In the Kagyu and Gelug lineages of Tibetan Buddhism, being absolutely detache is searching for the Enlightenment, while being detached from all concepts. Heideggerian notions, while remaining in a non-theistic way of thinking.
4
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Spinoza and the Possibility of Error

75%
Forum Philosophicum
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2007
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vol. 12
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issue 1
105-118
EN
If we consider certain features of Spinoza's metaphysics, it can seem very difficult to see how error, or the having of false ideas, is possible. In this paper I want to give the metaphysical background to the problem, before turning to a more detailed consideration of how Spinoza in fact accounts for error, or the having of false ideas. I will show the importance of the notions of adequacy and inadequacy in Spinoza's account. Having done this I will return to the central problem of accounting for the ontological status of false ideas vis a vis both the Infinite Intellect, and finite minds.
EN
The Italian artist Giovanni Anselmo (b. Borgofranco d’Ivrea, 1934) was a member of Arte Povera group, which was put together by Germano Celant back in 1967. Anselmo has addressed the invisible in art since the beginning of his activity, mainly with projections ofwords that play with the idea of the visible and the invisible, with the true (or multiple) meanings of language, and with the very nature of art. He refers to universal and eternal concepts and opposite pairs, such as the visible and the invisible, the finite and the infinite, the close and the open, the clear and the blurred, the being and the non-being. In the works discussed in the paper, the intangible element of the light beam is made visible only through the projection. It is always the projection of something immaterial on something material, an entity that participates in the dimension of non-being that is projected onto the world of being.
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