The Ineffable and Its Many Manifestations: A neo-Kantian approach

In this dissertation, I argue that the idea that there could be aspects of reality ineffable for us human beings should not be articulated in terms of the possibility of ineffable facts or truths. The thesis that there could be truths whose propositional form or structure is in principle unrepresentable by us human beings, in particular, is shown to be incoherent. The view that safeguarding the natural realist picture of the relationship between mind and world requires the possibility of ineffable facts is also shown to be mistaken. I argue that the natural realist picture requires the rejection of the possibility of any ineffable truths or facts whether their source of ineffability is unrepresentable logical structure or content. The idea that there could ineffable aspects of reality should instead be preserved by construing it in terms of the possibility of an ineffable insight into a non-conceptual or non-propositional feature of reality. Using Kant’s Theory of Reason, I argue that the explanation of why anything should exist at all is one such ineffable feature of reality.Doctor of Philosoph

Kant's Transcendental Schematism of the Understanding

In the Schematism chapter in the Critique of Pure Reason, Kant introduces a key element in his analysis of experience - the transcendental schema that mediates the application of the categories to phenomenal objects. In this paper, I seek to develop an interpretation of the doctrine of the schematism with a view to solving three significant problems that arise for that part of the critical system. I show the systematic unity of Kant's various descriptions of the nature of the transcendental schemata and their connection to the preceding deductions, thereby dispelling a possible charge of obscurity. I demonstrate how Kant's doctrine can withstand criticism about the apparent lack of justification of his schemata. Finally, I argue that a close study of the original grounds on which Kant introduces the transcendental schematism can remove the threat of regress generated by the demand for homogeneity, which opens this chapter in the Critique.Master of Art

Pratiques artistiques vestimentaires du constructivisme soviétique

The 1917 revolutions in Russia led to the formation of a new socio-political status quo. The new Soviet society demanded a new identity from a person and, as a result, the formation of a new social environment that needed a new aesthetics. In this niche, constructivist artists have formed a new radical ideology that is different from established aesthetic standards. From now on, such art becomes at the service of the proletariat and is gradually identified with the production process. A special place was given to experiments in the field of clothing, which were embodied as projects of Prozodezhda and Normal’-odezhda clothing. And also in the field of textiles, which was printed at the First Moscow Printed Textile Factory. In the socioeconomic conditions of socialism, these projects were revolutionary as an attempt at their practical mass implementation. In this study, using various sources, an attempt is made to analyze how constructivists took a leading position in the fashion industry of the 1920s, and also why they lost it. By analyzing various publications and recordings of artists, we try to answer the question of where are the boundaries of the constructivist method, how does it work in the field of clothing creation and what principles does it adhere to. After analyzing the historical context, this study concludes that the success and failure of the constructivist fashion is only partly related to Soviet ideology. Many factors played a role in this: class stillness, unsatisfactory state of textile production, lack of competent PR, but most importantly, the inability of artists to abstract from the artistic way of thinking.Les révolutions de 1917 en Russie ont amené à la formation d'un nouveau statu quo sociopolitique. La naissante société soviétique a exigé de la personne une nouvelle identité et, par conséquent, la formation d'un nouvel environnement social nécessitant une nouvelle esthétique. Dans ce créneau, les artistes constructivistes ont formé une nouvelle idéologie radicale différente des normes esthétiques établies : cet art est désormais au service du prolétariat et s’identifie progressivement au processus de production. Une place particulière a été accordée aux expériences dans le domaine de l’habillement, qui ont été incarnées comme des projets de Prozodezhdal et de Nirmal’-odezhda. Et aussi dans le domaine des textiles, qui a été imprimé à la Première fabrique de textile imprimé de Moscou. Dans les conditions socio-économiques du socialisme, ces projets étaient révolutionnaires et constituaient une tentative de mise en œuvre concrète en masse. Dans cette étude, en utilisant diverses sources, on essaie d’analyser la manière dont les constructivistes ont pris une position de leader dans l’industrie de la mode des années 1920 et pourquoi ils l’ont perdu. En analysant diverses publications et enregistrements d'artistes, on tente de répondre aux questions suivantes : où se situent les limites de la méthode constructiviste, comment fonctionne-t-elle dans le domaine de la création vestimentaire et à quels principes adhère-t-elle. Après avoir analysé le contexte historique, cette étude conclut que le succès et l’échec de la mode constructiviste n’est que partiellement lié à l’idéologie soviétique. De nombreux facteurs ont joué un rôle dans cette situation : immobilité de la classe, état de production textile médiocre, manque de relations publiques compétentes, mais surtout, incapacité des artistes à faire abstraction de la pensée artistique.Революции 1917 года в России привели к формированию нового социально политического статус-кво. Новое советское общество требовало от человека новой идентичности и, как следствие, формирование новой социальной среды, которая нуждалась в обновленной эстетике. В этой нише конструктивистские художники сформировали новую, отличную от установленных стандартов, радикальную идеологию Отныне такое искусство становится на службу пролетариату и постепенно отождествляется с процессом производства. Особенное место было отведено экспериментам в области одежды, которые воплотились в качестве проектов Прозодежды и Нормаль-одежды. А также в области текстиля, который печатался на Первой Московской ситценабивной фабрике. В социоэкономических условиях социализма эти проекты были революцинны в качестве попытки их практического массового воплощения. В данном исследовании с помощью различных источников делается попытка проанализировать как конструктивисты заняли ведущую позицию в модной индустрии 1920-х годов, а также почему они ее потеряли. С помощью анализа различных публикаций и записей художников мы пытаемся ответить на вопрос где границы конструктивистского метода, как он работает в области создания одежды и каких принципов придерживается. Проанализировав исторический контекст, данное исследование приходит к выводу, что успех и провал конструктивистской моды связан с советской идеологией лишь отчасти. Множество факторов сыграло в этом роль : классовая неподвижность, неудовлетворительное состояние текстильного производства, отсутствие грамотного пиара, но самое главное неспособность художников абстрагироваться от художественного образа мысли

Peptides in dermatocosmetics

Over the last two decades, many substances have been developed and new knowledge and opportunities have been discovered to maintain skin health and balance. The spectrum of biologically active peptides as a non-invasive and non-toxic alternative to botulinum toxin in the field of cosmetics is constantly growing. Designed specifically for inclusion in dermatocosmetic products, peptides with botulinum-like action have shown to be a new opportunity in the fight against skin aging. This review examines the types, classification, mechanism of action, and effective data, which are demonstrated through clinical trials for the use of these substances

Soil organic matter content and composition in different pedoclimatic zones of Bulgaria

The present paper focused on content, quality and composition of soil organic matter in different pedoclimatic zones of Bulgaria. The country has temperate continental climate with Mediterranean influence. There are six combinations of soil temperature and moisture regimes over the territory of Bulgaria, such as Thermic-Xeric, Mesic-Xeric, Mesic-Ustic, Mesic-Udic, Cryic-Udic and Pergelic – Udic. Typical soil types for Bulgaria are Chernozems, Luvisols. Vertisols, Cambisols, Phaeozems, Leptosols, Regosols, Planosols, Umbrisols and etc. Fifteen soil profiles were studied which are representative for the area. The content and composition of organic matter were determined according to the method of Kononova-Belchikova. The purpose of this study is to determine the influence of pedoclimatic conditions over soil organic matter content and composition of various areas with different soil cover, vegetation, management and etc. Grouping soil types in different soil temperature and moisture regimes shows that there are similarities in soil carbon content and composition. Soils developed under cooler and moister conditions accumulate more organic carbon. In such areas the content of organic carbon can reach about 255 t.ha-1 in a surface horizon and the type of humus is predominantly Fulvic. Respectively, soils developed under dry and warmer conditions have lower organic carbon content and the type of humus is usually Humic