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This paper presents the Christian incorporation and transformation of the philosophical understanding of the relation between the material and immaterial. This transformation centers on the Incarnation of Christ, which changes both the relation or contact between the material and immaterial realms, and human knowledge concerning the immaterial divine presence in material reality. More than a descriptive, historical account, the paper is primarily a conceptual presentation that retrieves the historically early thought of Irenaeus of Lyons and Athanasius of Alexandria to argue for a theological account of sacramental reality. Drawing on the metaphysical function of sacraments—themselves "visible signs of invisible grace"—which convey that there is more to material reality than meets the eye, I argue that this "more" implies what I call "a theology of abundance" that pertains to the whole of created reality, in the abundant nature of creation and of the human being in particular, and especially apparent in human knowing. The implication of such a theology of abundance is a comprehensive reorientation of human being, knowing, and expression in response to the invisible presence of the divine in visible, sacramental reality. [ABSTRACT FROM AUTHOR]

Purpose: This research aims to reveal the meaning of profit for incense traders. Design/Methodology/Approach: This study uses an interpretive and phenomenological paradigm as a research methodology. Researchers collected data by conducting in-depth interviews. Findings: he results of this study reveal that profit has material and immaterial meanings. Material profit is interpreted based on three things: minimal business risk, fast turnover of goods, and the percentage of profit earned from taking goods from suppliers and selling these goods. Conversely, immaterial gains are interpreted in spiritual terms. This spiritual thing is like helping or supporting others to pray. In addition, spirituality, in this case, is closely related to "karma phala," which means the result of actions, namely how a business owner runs his business honestly and sincerely so that he will get good results, too. Implications/Originality/Value: This study explains the various meanings of profit associated with working as an incense seller.

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Since old times the two dimensionalities of human beings, i.e., their having a material body and an immaterial soul (spirit), has been a controversial problem. In the Abrahamic religions, the human soul is considered to be immaterial and in interaction with the body. Furthermore, it is considered to be a special effusion of God to each individual human being. During the modern times, with the dominance of empiricism, the prevalent view considers human soul a byproduct of matter. In fact, from the naturalistic viewpoint of modern science, there is no place for mind or consciousness as a novel and immaterial subject, but there are some important ideas about this subject, and some eminent scientists of our time believe that the human soul is immaterial and is never explainable by science. Among the latter group, there are some celebrated scientists who believe that human soul is God’s special effusion to human beings. In this article, we mention and analyze some of these important ideas.

In this article, I discuss the role of sound in music exhibitions, especially as related to the display of musical instruments. On the basis of field research conducted in the Musée de la musique in Paris, the Musical Instruments Museum (MIM) in Brussels, and the Music Collection at the Munich City Museum, I discuss different technological methods for integrating sound into music exhibitions, such as portable and stationary systems, live music, or interactive hands-on stations, the effects they have on visitors’ perception of the exhibitions, and how they are linked to exhibition narrative. I discuss the role of music, noise, and silence in music exhibitions as historically visually oriented sites and thereby problematize the issue of displaying the intangible “object” of music in a visually oriented museum. Furthermore, I discuss the role and potential of silence in music exhibitions. back to index next article

Since old times the two dimensionalities of human beings, i.e., their having a material body and an immaterial soul (spirit), has been a controversial problem. In the Abrahamic religions, the human soul is considered to be immaterial and in interaction with the body. Furthermore, it is considered to be a special effusion of God to each individual human being. During the modern times, with the dominance of empiricism, the prevalent view considers human soul a byproduct of matter. In fact, from the naturalistic viewpoint of modern science, there is no place for mind or consciousness as a novel and immaterial subject, but there are some important ideas about this subject, and some eminent scientists of our time believe that the human soul is immaterial and is never explainable by science. Among the latter group, there are some celebrated scientists who believe that human soul is God's special effusion to human beings. In this article, we mention and analyze some of these important ideas. [ABSTRACT FROM AUTHOR]

This paper presents the Christian incorporation and transformation of the philosophical understanding of the relation between the material and immaterial. This transformation centers on the Incarnation of Christ, which changes both the relation or contact between the material and immaterial realms, and human knowledge concerning the immaterial divine presence in material reality. More than a descriptive, historical account, the paper is primarily a conceptual presentation that retrieves the historically early thought of Irenaeus of Lyons and Athanasius of Alexandria to argue for a theological account of sacramental reality. Drawing on the metaphysical function of sacraments—themselves “visible signs of invisible grace”—which convey that there is more to material reality than meets the eye, I argue that this “more” implies what I call “a theology of abundance” that pertains to the whole of created reality, in the abundant nature of creation and of the human being in particular, and especially apparent in human knowing. The implication of such a theology of abundance is a comprehensive reorientation of human being, knowing, and expression in response to the invisible presence of the divine in visible, sacramental reality.

One of the important philosophical issues is the discussion of the “immaterial and material” (existence) being. Providing a precise definition of “immaterial” and “material”, proving their existence, expressing their species, and the relationship between immaterial and material are among the important concerns of philosophers. It has been tried in this article to define and analyze the quiddity and characteristics of immaterial and material beings and also has been tried to examine Mullā Ṣadrā's special opinion precisely on the manner of immaterial and material relation. The author by referring (citing) the doctrine of existential separation in the transcendent theosophy has tried to prove that in Ṣadrā's thought, it is not possible and should not be believed in a clear and definite boundary like the peripatetic, between the immaterial and the material, because the immaterial and the material and the rules and characteristics of existence each of them have a return to the degree of intensity and weakness in the fact of the unity of existence, and as in the system of existential separation, existential discontinuity that is not assumed, neither can be believed a definite and bold existential boundary between the immaterial and the material despite the essential distinction.

This article argues for the necessity of integrating materialist and immaterialist perspectives in biblical interpretation on theoretical and practical grounds. After briefly exploring the relationship of the two perspectives in past and present philosophy and their appropriation in biblical hermeneutics, an interpretation of YHWH's feast in Isa. 25:6–8 is undertaken with the aim of demonstrating their compatibility, complementarity, and inseparability. [ABSTRACT FROM AUTHOR]

Copyright of Ri-vista: Ricerche per la progettazione del paesaggio is the property of Firenze University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ri-vista: Ricerche per la progettazione del paesaggio is the property of Firenze University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Can abstraction be considered as an interdisciplinary historical condition? In what ways does it affect the definition of the abstract image? This paper answers these questions by focusing on a specific case study – Beaumont Newhall's article "The New Abstract Vision" (1947) – that presents a relevant, and yet underrated, interplay between the artistic and scientific domains in representing abstraction. By proposing abstraction as a cultural feature of modernity and as a form of materialized epistemology, we draw up four fundamental concepts that define the abstract image nowadays: the historical relation of the abstraction with the unseen, the role of imagination in artistic and in scientific discoveries in depicting the unseen, and the popularization of abstract images in post-war modernity. The final sections of the paper are dedicated to a wide reflection on contemporary philosophers and scholars in visual studies who, like Newhall did almost forty years before, insist on the necessity of a new iconology for abstract pictures and images. [ABSTRACT FROM AUTHOR]

This essay demonstrates that Athenagoras’ theology is primarily concerned, not with the creative activity of God, as L.W. Barnard has argued, but rather with the immateriality of the divine nature and the unity of the Father and the Son. It is this two-fold basis of distinction and unity that makes the apprehension of God possible only by mind and reason. Since the divine nature is heavenly and immaterial, such apprehension cannot occur in the physical realm as promoted in pagan worship, but must take place in the mind through the Son, who is the Logos or Mind, the Reason and Wisdom of the Father. Athenagoras’ assertion that the immaterial God can only be apprehended by reason emphasizes the distinction between God and matter, while the unity of the Father and Son in God’s acts and teachings highlights the role of reason in the soul’s apprehension of the divine. One must be conformed to the Son, who is the Reason of God, in order to apprehend God the Father, and Athenagoras evokes the ethical dimension of reason in the soul’s apprehension of the divine. As the soul follows the Son in obeying his teachings, it is conformed to the Son, thereby becoming rational and engaging in rational worship, focusing on the heavenly rather than the earthly. Thus it is in ethical conduct that Christians are essentially pure in spirit and rational in worship, as they are directed by the Son, who is unified with the Father, to apprehend the immaterial God.

For many years, there has been a vibrant debate about whether Locke is friendly or hostile to the proposition that the mind is a material thing. On the one hand, there are passages in which Locke tells us that it is probable that the mind is immaterial. On the other hand, there are passages in which Locke expressly allows for the possibility that matter, suitably arranged, could be given the power to think. It is no surprise, then, that some scholars assume that Locke is a dualist, while other scholars think that Locke is a materialist. Yet others think that Locke studiously tries to remain completely agnostic about the nature of mind. Taking the relevant primary sources and secondary literature into account, I argue that Locke takes it to be more probable than not that the mind is immaterial.

Interiority, in relation to my practice, is the inherent curiosity to the notions of process, time and duration. It is a practice of mark making, marking time, making time, and time making; foregrounding duration and marking an occurrence. My technique is one of working responsively to interiors, allowing particular temporal conditions to surface within specific sites and situations. The marks – whether they be on a canvas, a house, a building, or within a gallery – materialise immateriality and allow the residue of particular processes to be assembled as collections of materialised and spatialised time. This paper discusses an artist residency undertaken in Detroit, USA 2017. Informed by existing watermarks, stains and rust encountered within abandoned spaces in Detroit, I initially responded by using found materials such as charcoal and ash from burnt houses, plant materials and liquids, to assemble process-based compositions on canvas. Further temporal interventions were then assembled in a number of situations within Detroit. This paper, and practice, notions that interiority is a field of interiors where the indeterminate is celebrated through the force of duration; immersion in time as flow. The temporal, material and immaterial are considered as a dynamic and confluence of forces; assembled in time, materialising immateriality.

Now reunited in Overcoming the Problems of Art, the writings of Yves Klein contain some genuine ekphrasis, moving the traditional public of the gallery towards a readership that keeps growing thank to the reproductibility of the textual medium. This article will suggest to think the remains of performance art as a form of rewriting of the work of art. As an interdisciplinary artistic tradition, the performative medium, turned to photography or video art as transmission’s mode. It is why we will analyze how the image by the text relates to a form of appropriation and diversion, but also a critical distancing of mediation processes. The use of rewriting asserts the immateriality of the work of art while proposing a whole other aesthetic experience, allowing to renew the relationship between the artwork and its interpretation. Between description, critique and hermeneutic, the text in the performance context reaches multiple functions whose has never been cumulated before. Yves Klein’s artistic approach proves to be the ideal project to examine these problematics considering that the immaterial, the invisible and the void are inherent to what he offers as an experience to the public.

This paper examines how information fundamentally influences the labour process in the information age. The process of becoming human in the labour process brings to the fore the notion of information and our dialectical interactions with our natural environment as organisms-in-the-environment. These insights lead the authors to posit that information/ideas are material. Information/ideas are not ethereal/immaterial, as is commonly believed, which does not negate that information/ideas may be abstract. Taking a fundamental approach serves to discard the concept of immaterial labour and products, to posit an undeniable materialist basis for the labour theory of value. More importantly, it serves to point to the immanence of information and labour in the labour theory of value.

The cultural practices related to video games - a relatively young communication medium - gained substantial relevance in the media system. They are characterized by a mix of regret and sadness because of the impossibility to go back to places, people and, in this case, interactions, which - although they belong to the sphere of the immaterial - are vividly laid out in memories. Nostalgia emphasizes a strong collective dimension in addition to his individual nature. Starting from the aesthetics of the ruin of Poe and the Romantics (Brancato, 2000), the nostalgia of pop culture fueled, especially in the last decade, an idealization of childhood and adolescent culture of the eighties and nineties of the twentieth century. This article aims to analyze the rise of this phenomenon, trying to understand the social dynamics that - in a market tending to hyperrealism and immersive virtual reality - push the players to remain romantically involved to the originals video games, in paradoxical contrast to the inherent fluidity of the medium.

The principle of cause and effect finds a privileged place in the Vedas. The Vedas recognize the fact that creation out of nothing is an impossibility. Science has also arrived at the same conclusion that matter can neither be created or destroyed. It is immaterial whether science succeeds in ascertaining the exact nature of fundamental particles or not, but the truth remains that whatever be the form of ultimate physical existence is a reality which cannot be denied. The Vedic theory comprehends the existence of an eternal material cause governed by the omniscient lord. In the 4th Rk of the same hymn a question has been posed which further throws light on the nature of the initial cause. Vedas have explored this fascinating aspect of our existence and have propounded a comprehensive concept on its creation. [ABSTRACT FROM AUTHOR]

At present, it is necessary to analyse how users/consumers perceive sustainability, in order to determine the characteristics, aspects, attributes, etc. that, according to their criteria, must have sustainable products, services and product-service systems (hereinafter SPS). The purpose of this study is to analyse, from the point of view of some experts, whether the proposed motivations of users/consumers are related to sustainability; since it is considered that the study of collective actions from the emotions can become a conscious motivating motor that would have the purpose of transforming a reality, in this case, the relation between users/consumers and sustainability. The analysis is the result of previous research (Rivera et al, 2015; Rivera & Hernándis, 2016; and Rivera-Pedroza,2017), to investigate how diverse motivations and aspirations, which are not only basic needs, could be related to sustainability. The research is carried out based on an instrument which contains eleven drivers linked to motivations (needs, emotions, values) belonging to an immaterial context of sustainability in products/services. The analysis of these motivations, within the current context, provides value in the analysis of the behaviours of people involved in the environmental social movements within the emerging design and sustainability scenarios. [ABSTRACT FROM AUTHOR]

The non-mimetic trilogy that the archetypal artist of the 20th century develops, contains the congruence between imagination, the conscious spirit and the allure of a outside posture, the self card of a character requiring an authoritative omnipresence characterized, not by the impulse of an intention to invade, but by the comfort of an affective substitute, camouflaged under the ornaments of clothes that defy the costume's history. Beyond the exaggerated geometry that labeled Picasso's painting style at first glance, he conceals an intransigent description of the details of the composition by recomposition and deconstruction, by cancelling the anatomical and physical proportions, by chromatic juxtapositions studied, and by a geometry of a scientist which invented a new theorem. But Picasso's theorems conceal human sensibilities, an overwhelming emotional context, even if placed under the reserved physiognomy, a pacifist enthusiasm of the characters that transpires from the harmony of the parts as a visually homogenized ornament, whose brilliance rise from within. The transcendental valences of Picasso's work include the coat as a metaphoric shelter and an egocentric armor, provoke the rhetoric of a design guided by philosophical theories, which refer to the belonging of the imaginative act to a superior spiritual source interwoven with social virulence and consciousness, as in a perpetual prayer in finding out the meaning of life. [ABSTRACT FROM AUTHOR]

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Diastrophisms is a sound installation with a modular system that sends images through rhythmic patterns. It is built on a set of debris from the Alto Río building that was destroyed by the 27F earthquake in 2010 in Chile. Diastrophisms explores poetical, critical and political crossings between technology and matter in order to raise questions about the relationship between human beings and nature, to consider the construction of memory in a community by questioning the notion of monument, and to imagine new forms of communication in times of crisis. [ABSTRACT FROM AUTHOR]

Background: There is an ongoing debate about the mode of action in homeopathic remedies in both conventional and homeopathic medicine. Some clinical observations and laboratory basic research findings are not compatible with a presumed working mechanism of action in these potentized preparations. Aim: This article contributes to the discovery of the mode of action of homeopathically potentized remedies. Method: Patients' experiences and observations in daily life outside of consultations in homeopathic doctors' practice with or without physical contact of ultramolecular homeopathic remedies collected prospectively from 2014 to 2016 will be presented and discussed. Result: Clinically observable reactions of humans to material or non-material application of potentized substances are grouped according to potency of the remedies, mode, duration, and conscientious control of application, and are analyzed in a qualitative approach. The findings are contradictory to the concept of a chemical or material mechanism of action in homeopathic remedies. Observations gathered without any physical contact to patients are compatible with an immaterial mode of action in these remedies. Conclusion: Study or trial protocols to further investigate the efficacy of homeopathic remedies should consider these findings to avoid carry-over effects in a placebo setting or using inert preparations. [ABSTRACT FROM AUTHOR]

Copyright of SOBRE Lab is the property of SOBRE Lab - de la Universidad de Granada and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper explores the continuing relevance to education of ideas about art and resistance that Jean-François Lyotard signalled in his curated exhibition in 1985 at the Centre Georges Pompidou in Paris entitledLes Immatériaux. The exhibition was for Lyotard the ‘staging’ of a resistance at the dawning of an information age that challenged the prioritisation of computerised ‘data’ through the very deconstruction of data as presented in artistic form. While the implications of this event for art exhibitions are still being theorised and debated, it is the insightLes Immat​ériauxprovides as pedagogical encounter that is the focus of this article. The paper explores the exhibition in the context of the immateriality of art and develops this argument towards a notion of artistic testimony that then culminates in an analysis for the pedagogical significance of the exhibition in the information drenched, highly networked context of contemporary education. [ABSTRACT FROM AUTHOR]

In 2012 artist Tino Sehgal created These Associations, the last in the Unilever series of commissions for the Tate Modern's Turbine Hall, London. Within this space Sehgal transformed and challenged the role of the public and 'participants' or interpreters in the creation of a relational art piece which represents '[...] a direct response to the shift from a goods to a service-based economy' (Bishop 2004: 54). In common with earlier works by Sehgal, and with the 'social turn' of relational aesthetics, These associations (2012), is centrally concerned with alternative modes of production. And as has been extensively noted elsewhere (Umathum 2009, Pape, Solomon and Thain, 2014, Green 2017) Sehgal is uninterested in adding to the ever-increasing mass of objects in the world. Instead he asks; how do we think of production in our times? How (and what) can we produce without producing objects? [ABSTRACT FROM AUTHOR]

This paper examines how information fundamentally influences the labour process in the information age. The process of becoming human in the labour process brings to the fore the notion of information and our dialectical interactions with our natural environment as organisms-in-the-environment. These insights lead the authors to posit that information/ideas are material. Information/ideas are not ethereal/immaterial, as is commonly believed, which does not negate that information/ideas may be abstract. Taking a fundamental approach serves to discard the concept of immaterial labour and products to posit an undeniable materialist basis for the labour theory of value. More importantly, it serves to point to the immanence of information and labour in the labour theory of value. [ABSTRACT FROM AUTHOR]

Muara Takus Temple (MTT) is a relic of the kingdom of Sriwijaya derived from Buddhism and it has the potential to be developed as a tourist attraction. MTT cultural development of the ecotourism area as a cultural heritage, tourist destinations and places of worship need to be done as a measure to keep the MTT area and improve the local economy. If cultural tourism will be managed carefully, it will be had the economic potential as the motivation for the cultural stakeholders to provide rewards and protection of cultural heritage. In other words, cultural tourism has a double significance that is able to increase the economic value and cultural value. The research aimed to develop ecotourism management of cultural MTT. The used method was the method of survey (survey methods) with a questionnaire technique, which was a collection of data that provided a list of questions/statements to the informant/respondent hoped of providing a response to the questionnaire. The used questionnaire was elaborated from the combination question/statement patterned open, closed and scale (rating). The research showed that the parties were supported the development of management area eco-cultural tourism muara takus temple. Eliminating the gaps by establishing an agency has been to manage the MTT in order to avoid overlapping policies and has been facilitated communication, coordination, collaboration parties were involved to achieve the desired objectives. [ABSTRACT FROM AUTHOR]

The cultural practices related to video games - a relatively young communication medium - gained substantial relevance in the media system. They are characterized by a mix of regret and sadness because of the impossibility to go back to places, people and, in this case, interactions, which - although they belong to the sphere of the immaterial - are vividly laid out in memories. Nostalgia emphasizes a strong collective dimension in addition to his individual nature. Starting from the aesthetics of the ruin of Poe and the Romantics (Brancato, 2000), the nostalgia of pop culture fueled, especially in the last decade, an idealization of childhood and adolescent culture of the eighties and nineties of the twentieth century. This article aims to analyze the rise of this phenomenon, trying to understand the social dynamics that - in a market tending to hyperrealism and immersive virtual reality - push the players to remain romantically involved to the originals video games, in paradoxical contrast to the inherent fluidity of the medium. [ABSTRACT FROM AUTHOR]

The present paper explores the discussion on the concept of territory as an analytical category in the area of social and human sciences. In particular, the possibility of a typology of territories based on their material and immaterial essence is discussed. First, then, the idea of matter and substance will be addressed thereby achieving approach the idea of immateriality. Subsequently ontology is analyzed discussing social spheres of the material and the immaterial with special emphasis on the analytical role of such categories. Finally an approach to the debate already established on the concept of territory and if it is material and immaterial or are two different types of territories. [ABSTRACT FROM AUTHOR]

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This paper argues that, while Locke's unstable usage of the term 'mind' prevents us from claiming that he had a theory of mind, it can still be said that he made a contribution to the philosophy of mind in its contemporary sense. After establishing that it was the term 'soul' that predominated in early modern British philosophy, the paper turns to Locke's three central notions of the soul, the understanding, and the person. It is argued that there are two stages to the development of Locke's view of the soul: a first philosophical stage and a later theological stage. The first stage is characterized by the application of the material/immaterial distinction. The second stage rejects the utility of this distinction. The two stages are not, however, incompatible, for the bridge between them is found in Locke's conceptions of the understanding and personhood. While the latter theological stage was, in the end, of the greatest concern to Locke, it is in the earlier philosophical stage that we find his real contribution to what we now call the philosophy of mind. [ABSTRACT FROM AUTHOR]