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Heideggerův výklad experimentálního charakteru novověké vědy

100%
Novak A.
Teorie vědy (Theory of Science)
|
2010
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vol. 32
|
issue 3
341-360
EN
While showing the mathema-character of modern science, Martin Heidegger (1889-1976) sharpens his analysis of its essence by interpreting the key part of its method, which he claims to consist of the 'hypothesis-experiment complex'. In Heidegger's interpretation, the experimental feature of modern science means the former metaphysical act of logical prescription for the general understanding of the meaning of 'being'. Thus, Heidegger analyses the fourfold concept of 'experience', which distinguishes the modern science from all the older conceptions of 'science'. Nevertheless, all what Heidegger ultimately tries to achieve, is to gain a clear insight into the essence of the temporal character of 'being'.
2

OD ČASTÍC K POLIAM: ONTOLOGICKÉ OTÁZKY FYZIKY

100%
Maco R.
Filozofia (Philosophy)
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2020
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vol. 75
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issue 6
431 – 445
EN
The question of ultimate constituents of the physical universe was one of the first questions at the dawn of the Western tradition of philosophy. At present, the most successful answers to this question are offered by the fundamental theories of elementary particle physics, which are formulated within the broader conceptual and mathematical apparatus of quantum field theory. The aim of this paper is to explain in an accessible manner the fundamental changes brought about by the transition from particle to field understanding of the universe in contemporary physics. The brief account of Newton’s ontological view of the world serves both as an introduction and as a background to what follows. The paper also intends to address and encourage philosophers interested in ontological problems to study the latest physical theories despite their mathematical complexity and apparent inaccessibility.
3

SVETLO A FARBA

84%
Scala A.
Filozofia (Philosophy)
|
2017
|
vol. 72
|
issue 4
271 – 282
EN
Philosophy and visual arts seemed to agree: from an intelligible point of view, colours are submitted to the light despite the sensible fact that no light is visible without colour. The colour is submitted to the drawing as secondary qualities are to primary ones; colours are unable to create forms or figures. When Newton discovered that white differs from other colours, the latter achieved a new status especially in visual arts: they achieved a certain freedom from drawing. A long time after Newton, Kupka came. But between Newton and Kupka, Goethe wrote his Theory of colours and criticized Newton’s indifference to the visual experience. According to Goethe, colours are produced by the world itself, i.e. by a certain degree of turbidity in the air. So colours are no more obliged to give credit to the drawing as a paradigm of the forms. As Robert Delaunay says, colours create forms.
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