Techne and praxis are the most useful and appropriate terms with which one can approach the larger question of theory and praxis in the Platonic dialogues, and it is this question which is the principal theme of this dissertation. Since the issue of theory, praxis, and, it must be added, production is made most explicit as a philosophical issue by Aristotle, Chapter II attempts to delineate exactly how he understands and divides these three terms. Particularly, how and why he (...) divides knowledge into three branches, the theoretical, practical, and productive, is discussed. ;Chapter III argues that the Aristotelian division of knowledge is prefigured partially in the Platonic dialogues. An extended series of "division passages" is studied to show that such a division is present in Plato but that a glaring difference obtains between him and Aristotle. For Plato the division is consistently twofold and is between theoretical and productive knowledge, or techne as he will usually call it. There is no mention in these passages of a correlate to Aristotle's practical knowledge, namely an "ethics" or a "politics." ;Chapter IV begins to ask why this is the case and what significance this fact has for Platonic thinking in general. It is argued that there is no possibility of a Platonic version of practical knowledge. There is no possibility, as there is for Aristotle, of a theory of praxis. This is essentially a result of the Platonic conception of both techne, the word in his vocabulary most significant of theory, and praxis. Given the conceptual structure of the former, it is impossible for the latter to become an object of a genuine techne. ;Chaper V discusses portions of the Republic. Here, more than anywhere else, Plato does seem to posit a theory of praxis. That such a theory is present is certainly the basis of many, if not most, of the readings of this dialogue. It cannot be denied that a theory of praxis is, in some sense, put forth in the Republic. It is argued here, however, that it is not present as an actual theoretical accomplishment or even as a projection of a future or possible accomplishment. For reasons discussed at length the thesis is maintained that even in the Republic praxis, despite appearances to the contrary, remains an illegitimate object of techne. ;Throughout Chapters IV and V the implications and significance of this thesis are discussed. There is both a negative and a positive pole to this discussion. As mentioned, it is argued that a theory of praxis is impossible for Plato. More positively, the manner in which praxis is prior to and conditions or "surrounds" techne is considered. Techne emerges and is never fully independent from praxis. (shrink)

Die Platonische Techne-Analogie hat eine heuristische Funktion. In ihr wird eine bestimmte (vom Verfasser «technisch» genannte) Denkweise sichtbar, die in der platonischen Philosophie durchgehend einflussreich bleibt. Die vorliegende Untersuchung besteht aus zwei Teilen. Der erste Teil analysiert die vielfältigen Strukturen der platonischen Techne-Analogie und bringt die in ihnen wirkende «technische» Denkweise zum Licht. Der zweite Teil behandelt den Einfluss dieser Denkweise auf verschiedene Bereiche der platonischen Philosophie.

'By identifying the extent to which Aristotle's thinking about ethics was shaped by notions drawn from the crafts Angier has thrown new light on a surprising number of topics and has deepened our understanding of tensions within Aristotle's thought. It is by now a rare achievement to have said something new, true and important about Aristotle.' -- Alasdair MacIntyre, Emeritus Professor of Philosophy, University of Notre Dame, USA.

The Ruse of Techne offers a reappraisal of Heidegger’s entire work by focusing on the forms of activity he regards as separate from instrumentality. Non-instrumental activities like authenticity, poetry, and thinking—in short, the ineffectual—are critical for Heidegger as they offer the only path to the truth of being throughout his work. -/- By unearthing the source of the conception of non-instrumental action in Heidegger’s reading of Aristotle, Vardoulakis elaborates how it forms part of Heidegger’s response to an old problem, (...) namely, how to account for difference after positing a single and unified being that is not amenable to change. He further demonstrates that an action without ends and effects leads to an ethics and politics rife with difficulties and contradictions that only become starker when compared to other responses to the same problem that we find in the philosophical tradition and which rely on instrumentality. -/- Heidegger’s conception of an action without ends or effect forgets the role of instrumentality in the tradition that posits a single, unified being. And yet, the ineffectual has had a profound influence in how continental philosophy determines the ethical and the political since World War II. The critique of the ineffectual in Heidegger is thus effectively a critique of the conception of praxis in continental philosophy. Vardoulakis proposes that it is urgent to undo the forgetting of instrumentality if we are to conceive of a democratic politics and an ethics fit to respond to the challenges of high capitalism. (shrink)

"In techne of giving, Timothy Campbell elaborates a notion of generosity as way of responding to contemporary biopower. Reading films from Visconti, Rossellini, and Antonioni, he both updates their political lexicon while adopting them as models able to push back against neoliberal forms of gift-giving"--.

The preparation of food and nutrition is a pervasive techne in the classical Greek world. Indeed, food technology may be a defining characteristic of humanity. We begin with a glimpse of a tension in the use of the word techne in relation to the preparation of food in Plato’s Gorgias 462d-e. Turning to the Presocratics, we discern three distinct perspectives on food, those of Empedocles, Anaxagoras, and the treatise Regimen. In Regimen, we find an anticipation of the distinctions (...) made by Plato in the Gorgias passage, and trace some of the implications in what we may call the “food technology” of this treatise that manages to be both philosophical and technically informative. (shrink)

In affective neuroscience, constructivist models are acutely influenced by the modern technological evolution, which underwrites an ongoing epistemological substitution of techne for episteme. Evidenced symptomatically in the influence of artificial intelligence (AI), affective artefacts, these models inform an ontological incursion of techne seen to coincide with posthumanist aspirations and anthropology. It is from the perspective of this neuroscientific techne that posthumanism views the human being as increasingly ill adapted to the modern technological civilization, which, conversely, is understood (...) to require a technical governance of the sort envisioned through AI. Among the projects thought necessary for implementing this framework is a recasting of the human emotional spectrum. Revealed through its techne recasting, however, are explanatory commitments to a metaphysic of extrinsic and contiguous causes, where malleability is ontologically constitutive. Aligned with posthumanist assertions malleability is invoked to argue for a rapid advance of the human form, normatively driven by enlightenment ideals. The ontological claim, however, dispenses with the stability of an a priori, intersubjective and interrelational metaphysical form that undergirds the emotions, leading to the collapse of a definitional anthropos. This paper will argue that techne models of the emotions selectively endorse philosophy of science commitments, thereby introducing a normative inversion that deconstructs the notion of anthropology pursued in posthumanist aspirations. (shrink)

The objective of this article is to investigate whether the concept of techne is fruitful as a framework to analyze some of the pressing challenges inmodernmedicine. To do this, the concept of techne is scrutinized, and it is argued that it is a concept that integrates theoretical, practical and evaluative aspects, and that this makes it particularly suitable to analyze the complex activity of modern medicine. After applying this technical framework in relation to modern medicine, some of its (...) general consequences are elaborated. In particular, it is argued that the concept of techne is appropriate to address the constitutive role of technology in medicine. Techne thus appears to be as fruitful a philosophical concept today as it was in antiquity. (shrink)

In support of an interpretation of the techne-analogy not as a doctrine about virtue, but as a dialectical tool employed by the Platonic Socrates, I analyze an atypical example: the 'healthy city' of 'Republic' II. First, I survey the more 'typical' uses of the techne-analogy in Book I, where Socrates seeks to understand justice by comparing it to various 'technai'. Then, I proceed to show that Socrates' Healthy City, essentially an association of craftsmen, is used in a very (...) similar manner to provoke questions about the relation of virtue to knowledge. Finally, I speculate on the kinds of considerations about justice that Socrates tries to draw his interlocutors to by means of the Healthy City, looking backward to Book I and forward to the rest of the 'Republic'. (shrink)

Abstract:Curiously, Marxist literary and art criticism often historicizes everything but the artist's labor. This essay articulates "techne-Marxism" as a critical standpoint that locates the ontological core of the artwork in conceptual and technical labor. It posits techne as the materialist substrate of art forms often explained away as part of an ideology of bourgeois taste rather than the proper bedrock of a Marxism that avoids alienating labor in a symptomology of historical structure. Ultimately, the value of techne-Marxism (...) is its ability to synthesize socially objective knowledge about art and the critic's ability to build labor-oriented evaluative judgments out of that knowledge. (shrink)

Technology extends human perception and it intervenes in relations to the environment. Life in cities is particularly affected by newest technological developments, and city dwellers are most shielded and disconnected from the natural world by these very same technologies. The term technology stems from the Greek techne, and it refers to an instrumental relation to the world—a manipulation and adaptation of the environment to human needs. However, by intervening in everyday life and modifying relations to the environment, technology also (...) produces new forms of life and is therefore also poetic in the sense of poiesis. It is clearly distinguished from literary works because it opens worlds of possibilities that are not fictional. This makes a reflection on its poeticity all the more urgent, because the large-scale advent of new technologies such as the industrialization or the digitization radically changes the modes of perception and relations to urban environments. Art works like literature absorb and articulate these changes and are therefore useful “strange tools” for putting on display the changing modes of experiencing cities. For instance, industrialization, explosive urban growth and the rapid modernization of cities overwhelmed the senses. In its very form and rhythm, modernist literature performs the fragmented and brisk-paced experience of modernity. The digital age ostensibly promises intelligibility and order, for digital technologies can survey and manage vast amounts of information. Smart cities are designed for this purpose and for offering tailored solutions to the inhabitants’ individual needs. However, data analytics cannot capture the phenomenological quality of lived experience. Art works can, and contemporary literary works put on display urban life-forms characterized by disembodiment and by exhaustive information on any subject that on its own does not translate into any sense of meaning or belonging. (shrink)

This is a brief dictionary entry on the Greek word "techne" (art or skill) as used in ancient Greek philosophy, in particular in the work of Plato and Aristotle. A techne may be a manual craft, such as carpentry, or a science, such as medicine. A techne is based on universal principles and is capable of being taught.

Does the idea of human enhancement presuppose a goal or an ideal to direct technological modifications? In the absence of such an agreed ideal in today’s culture, can Christian theology help clarify the goal or the meaning of “perfection” when applied to human beings? A theological perspective rooted in scripture and in the writings of theologians such as Irenaeus, Athanasius, and Gregory of Nyssa suggests that theology instead of offering its own definition of the human ideal, theology rejects the possibility (...) of any defined human goal. An analysis of the biblical word teleios (“mature” or “perfect”), along with Gregory’s view of infinite ascent, leads to the conclusion that the human goal is found in relationship to the triune God and not in any anthropologically-definable status. (shrink)

The concept of Creation from nothing is one of the most typical and relevant themes of the metaphysics of transcendence; this in particular from the moment in which this Principle entered the theological and philosophical panorama through the Jewish-Christian Revelation. In recent decades, one of the most relevant criticisms of this concept has come from the Italian philosopher Emanuele Severino: this latter, after having proposed an innovative ontological elaboration centered on the eternity of each being as such, has addressed objections (...) to various typical themes of Western culture, considered as a whole forgetful of the sense of being: the Principle of creatio ex nihilo would not escape this relief, in particular because the Author assimilates the divine creation to the production technique of the craftsman, and therefore understands it as a variant of the demiurgic model present in the Platonic texts. After having exposed the Platonic doctrine of the Demiurge in its essential terms, the article intends to take this parallelism into consideration and verify whether Severinos’position on the subject under consideration is well founded or whether it is not the result of an incorrect interpretation. Secondly, we intend to provide some indications aimed at defining more precisely the authentic way of understanding the Principle of Creation. (shrink)

“Techne” investigates how Levi uses animal representations and references to animality to reflect upon his own writing, initially understood as a specifically human technology. This chapter begins such exploration analyzing one of Levi’s articles, “A Bottle of Sunshine,” in which he positions the human-animal divide along the lines of technological ability. Levi’s own position is first contextualized within the contemporary Italian cultural milieu, and then compared to two thinkers who both dwell upon the issue of human technology and animality, (...) Hannah Arendt and Martin Heidegger. The uncanny similarities between Heidegger and Levi compel a search in his fiction for clues about this ambiguous issue. The chapter ends with a close reading of The Monkey’s Wrench, focused on how Levi represents both human and non-human hands. (shrink)

This second exploration of how the relationships between technology and animality are understood and represented by Levi focuses mostly on his science fiction and on how it challenges the human-animal divide as it was instead presented in “A Bottle of Sunshine.” The analysis of the overarching theme of hybridity in Levi’s work shows in fact that Levi represents himself as indeed a homo faber, who nonetheless needs a hybrid literary strategy capable of displaying the creative possibilities of limitrophy as well (...) as the hubris of traditional anthropocentric humanism. (shrink)

before i begin, i would like to express my considerable gratitude to Heldke, Orosco, and Stehn for their stimulating reading of my work and their considered critiques, and to the SAAP Coss Committee for taking pains to represent a community, identifying members in the spirit of the SAAP. Indeed I must parallel and reflect the words Heldke used: "It was just fun to read... about a place... [described] by a theoretical tradition I value" or Orosco locating my scholarship in ancient (...) debates between forms of reasoning about human behavior, or Stehn making me think how to better achieve the aspirations of my applied scholarship. Again, let me say, thanks to you all.Readers made... (shrink)

With his most famous question, the Being-question, the Seinsfrage — a question essentially and not incidentally obliterated by the tradition of philosophic questioning, Heidegger proposes a phenomenology of questioning. This is not counter to the project of philosophy but it calls us to our own experience as questioners, even as those who ask, who can ask 'Why the why.'(1) For Heidegger, 'only because man is in this way, can he and must he, in each case, say, not only yes or (...) no, but essentially yes and no.'. (shrink)

The paper aims to investigate the relationship between ἐρωτικὴ τέχνη and ἐλεγκτικὴ τέχνη in Plato’s early dialogues, and especially in the Charmides, through a close exam of the role of ἀντέρως in the dialogical practice and exchanges. In the light of Socrates’ reshaping of the roles of ἐραστής and ἐρώμενος in his view of παιδεία – exemplarily shown in the Symposium – I will analyse some passages of Socrates’ conversations in the Charmides by focusing on the interaction between the one (...) who examines and the one who answers within the elenctic procedure. (shrink)

This dissertation is a study of the Hippocratic treatise On Ancient Medicine , focusing on the author's conception of t3&d12;cn h . In their attempts to place traditional medical practice on a systematic, rational foundation, the early medical writers whose works are preserved in the Hippocratic Corpus developed the idea of t3&d12;cn h as a systematic body of procedures for preserving health and curing disease. The author of VM attacks thinkers who tried to provide such a systematic method for medicine (...) by reducing it to the interaction of a very small number of factors such as hot, cold, wet, and dry, factors the author calls u&d13;poq 3&d12;s3iv . In Chapter One I argue that, although the author rejects his opponents' claim that medicine must be based on such u&d13;poq 3&d12;s3iv to be systematic, he agrees with them that medicine needs a systematic method in order to qualify as a t3&d12;cn h . To show that medicine has such a method he gives an account of how it was discovered by observing the reactions of different individuals to different foods over a long period of time. This procedure ultimately led to the discovery of a body of knowledge of human nature that can explain and guide medical practice. The author makes out a good case that his theory, according to which human beings are made up of a vast number of different humors in a state of "blending" or krh&d5;s iv , is a better framework for explaining and guiding treatment than his opponents' rigid systematization in terms of the u&d13;poq 3&d12;s3iv hot, cold, wet, and dry. In Chapter Two, I examine the argument the author makes against a second group of opponents in chapters 20--24 of VM; analysis of this argument confirms that he held theoretical knowledge of human fu&d12;si v to be necessary to explain and guide treatment. In Chapter Three, I examine the author's argument that "ancient" medicine possessed the quality of a&d12;kr i&d12;b3ia , exactness or precision. In the Conclusion I suggest that the fact that the author's motivation was not an epistemological one was an advantage that enabled him to avoid both the excessive schematism characteristic of his opponents' theories and the scientifically sterile path taken by the Empiricist doctors of the Hellenistic period, who rejected all theory as irrelevant to medical practice on epistemological grounds. (shrink)

Wie bekannt hat Scheler den Begriff der "phänomenologischen Reduktion" ausdrücklich von Husserl übernommen1, dennoch behauptet in der letzten Schaffensperiode ebenso deutlich, den Terminus "Phänomenologie" vermeiden zu wollen, und tatsächlich verwendet er entweder den Ausdruck "phänomenologische Reduktion" in Anführungszeichen oder den Begriff "Techne der Reduktion". Die These, die ich zu entwickeln versuchen werde, ist, daß es bei Scheler nicht nur eine einzige Theorie der Reduktion gibt und daß, ebenso wie verschiedene Realitätstheorien zu unterscheiden sind, ebenso viele Versuche zu erkennen sind, (...) die das Thema der Reduktion behandeln. Diese Versuche sind in großen Zügen auf zwei "Varianten" zurückzuführen: Die erste Variante ist jene, die wir alle kennen und die Scheler selbst in seiner mittleren Schaffensperiode als "phänomenologische Reduktion" bezeichnet. Die zweite Variante der Reduktion wird von ihm nicht eindeutig bestimmt, und es ist auch schwierig, dafür eine Bezeichnung zu finden. Auf jeden Fall verbindet sie Scheler mit Begriffen wie Sublimierung, Ekstase, Askese, "moralischer Aufschwung", etc.. Um sie von der ersten Variante zu unterscheiden werde ich sie "kathartische Reduktion" nennen, wobei das Wort "Katharsis" im Sinne von Platon gemeint ist. (shrink)

The study of education systems as social phenomena has led scholars to question the role of education in modern society. The question of how to improve education naturally leads to concerns about what is wrong with the present education system. If education is meant to elevate the next generation, how can it meet the goal of ensuring a meaningful existence for those being educated? Scholars have demonstrated that education has been reduced to a process of the construction of objects, where (...) curriculum as techne commodifies students into products with market value. We propose that the tendency of interpreting techne as technology is a perspective of the modern age, and the rules of modern education are based on the rules of modern technology, under the guidance of the paradigm of productivity. We will introduce a broader interpretation of techne which frames it as the cultivation of virtue, i.e., virtue-techne. On this basis, education could be viewed as techne in the sense of praxis, rather than as fabrication in the sense of production. We highlight the rising rate of student suicides in Taiwan in recent years, where we determine the education system lacks a focus on praxis. This article investigates alternative praxis-oriented notions of education, from Aristotle's cultivation of virtue to Hadot's "spiritual exercises," to advocate for a shift away from the production paradigm. Indebted to Heidegger, we clarify his "techne as revealing" by emphasizing two frameworks for education: The first, modern education being valued by its adherence to metrics based in the paradigm of production. The second, education as a process wherein its value is derived from the life context of the participating individual. Finally, as a comparative study, we explore the current state of education in Russia and Taiwan, and present the case of one high school in Taiwan which has adopted the practice of spiritual exercises in its curriculum, including a required hike to the peak of Taiwan's tallest mountain, to cultivate a sense of the liberated life before its students graduate. (shrink)

The debate on the validity of the evidence-based medicine (EBM) paradigm in psychiatry and psychotherapy has tended to be rather polarized. Critics of the paradigm maintain that there is a basic conflict between the general knowledge of treatment of groups of patients ('techne') and the contextual understanding of individual patients ('phronesis'). This paper argues that the existence of firm general knowledge is crucial to the legitimacy of the psychiatric as well as the medical profession as a whole, and defends (...) the controlled clinical trial as a central instrument to establish such knowledge. At the same time, however, the paradigm does not solve the old Aristotelian techne–phronesis dilemma, which seems to be more or less inescapable. Focusing on psychotherapy, the paper discusses problems connected with the 'techne-oriented' use of diagnostic principles and of therapy manuals, the criteria for therapeutic progress, and the apparent conflict between experimental efficacy and practical effectiveness. (shrink)

In this paper I propose to do the following: I will discuss the notions of intentionality and self-understanding of Dasein as developed in Heidegger's Basic Problems of Phenomenology. In doing so, I will try to show the interrelation of Dasein's always being intentionally directed towards something and its self-interpretation. As we will see, the everyday world has, for Heidegger, a character of "equipmental contexture." This means that Dasein returns to itself from out of things, equipment, tools, or - quite differently (...) - the work of art. In a word, Dasein is mirrored back toward itself from the things made, from the products of techne. From this will follow the important distinction between authenticity and inauthenticity. There is a sense in which the following pairings could be discerned: tools or pieces of equipment link up with inauthenticity, while the work of art links up with authenticity. I will say more on the subject of tools a bit later in the essay. Both kinds of things are things insofar as they are entrenched in techne. The common root seems almost inexplicable in the light of the vast difference between tools and the artwork. Moreover, both Dasein and techne seem to have another equally enigmatic common root: that of temporality. Temporality is the essential bond between Dasein and the double sense of techne, which suggests the double-sidedness of temporality itself. It is precisely this doublesidedness that I would like to have as the backdrop to my discussion as a whole. Finally, I will turn to a few pages of Heidegger's Being and Time and Bernard Stiegler's book Technics and Time I in order to complicate this notion of the two senses of temporality, the owned and disowned, originary and everyday, and its relation to work and techne. The overarching question here will be: Can the distinction between authenticity and inauthenticity be sustained? (shrink)

Techne and Truth. The problem of techne in the dispute between Gorgias and Plato -/- The source of the problem matter of the book is the Plato’s dialogue „Gorgias”. One of the main subjects of the discussion carried out in this multi-aspect work is the issue of the art of rhetoric. In the dialogue the contemporary form of the art of rhetoric, represented by Gorgias, Polos and Callicles, is confronted with Plato’s proposal of rhetoric and concept of art (...) (techne). The ingenuous and dramatic structure of the dialogue composed of three acts, in each of which Socrates’ consecutive interlocutors emerge, is difficult to interpret. It seems, however, that even though the first conversation between Socrates and Gorgias constitutes a small part of the dialogue, it forms the foundations for the discussion. This part, dealing with such important issues as the subject of art, knowledge, power and relation between art and good, is the starting point for the conversations which follow. What do the differences between the Gorgias’ and Plato’s concepts of art consist in? Any attempt to answer the question requires presentation of the background for the discussion taking place in Plato’s work as well as the reconstruction of Gorgias’ vision of the art of rhetoric and art in general, defining the relation between art and knowledge. The latter may be undertaken on the basis of two paraphrases of the treatise “On Non-existence”, two epideictic speeches entitled “Helen” and “Palamedes” and some smaller fragments which have been preserved from Gorgias’ creative output. The treatise “On Non–existence”, very paradoxical in its philosophical meaning, testifies to new, sophistic thinking represented by Gorgias of Leontinoi. The treatise is the polemic and attack on Eleatism based on certain principles and methods elaborated by the Eleatics themselves. It also shows that Gorgias – using traditional Eleatic schemes – is opposed to this tradition. Even though the treatise does not discuss the problem of art directly, it anticipates the considerations from epideictic speeches. “Helen” and “Palamedes” constitute further stages in the development of Gorgias’ thought and concept of art combining typically epideictic elements with some philosophical convictions. Gorgias refers to the Eleatic theme considering the issues of truth, knowledge and belief, yet defining them in the empirical spirit. Solutions in the cognitive sphere determine the horizon of Gorgias’ rhetoric. The word is separated from the existence. Human cognition is limited and therefore the word and visual images affect the belief. This promotes the great importance of rhetoric, painting and sculpture, i.e. the areas which influence in a specific way – creating the “delusion” (ἀπάτη). Through idealization art provides pleasure, which is its objective. Therefore the task of art is to create delusion. The rhetor of Leontinoi discusses the issue of “how?” to use the word ‘rhetoric’. Gorgias is aware that rhetoric may be used to talk about what is unknown and that technical correctness of a rhetoric statement is not identical with the truthfulness of the proclaimed message. Mentioning it, Gorgias shows his respect to the truth as a value which should be respected in speech on the one hand, and on the other emphasizes that the truth in itself has no persuasive power. For this reason it is not enough to proclaim the truth, but, to convince the listeners, the orator should possess the skill of speaking. What is then the relation between truth and art emerging from epideictic speeches? Gorgias undoubtedly emphasizes the formal aspect of speech, as rhetoric is art, thus an ability based on certain principles. According to Gorgias, the truth is the value which should be respected in speeches. Rhetoric is able to create a fictive world, as a great range of reality remains outside direct human experience. Rhetoric does not oppose the truth but discussing not only what is directly given concerns the area outside the sphere of direct experience. This concept of rhetoric is the basis of the discussion about art carried out in the dialogue “Gorgias”. Even though the first of the discussions in the dialogue – the conversation between Socrates and Gorgias – is directly concerned with rhetoric itself, numerous remarks testify to its much wider character. This is best exemplified by the way of carrying out the conversation by Socrates, who, asking questions about rhetoric practised by Gorgias, throughout the whole conversation compares it with other skills. Additionally, the manner and the structure of the conversation prove that Plato considers the issue of rhetoric from a wider perspective determined by the issue of art. The specific feature of the conversation is ordering it around main issues – such notions as πρᾶγμα, ἐπιστήμη, δύναμις, each of which has its own meaning in Plato. In the first part of Gorgias Plato presents the principles previously occurring in other dialogues in a certain order, thus constructing the structure of the conversation with Gorgias. The notions are not novum in Plato but the fact that he clearly wants to systematise them and present a certain concept of art is a new and significant aspect. This tendency is of paramount importance for the discussion because Gorgias’ answers are evaluated by Plato from the perspective of this clearly set concept consisting of not only established notions but also certain principles. The discussion between Socrates and Gorgias introduces a theme which is crucial for the dialogue: the relation between art and good, i.e. the technical and ethical spheres. The issue is introduced by Gorgias, who mentions that rhetoric may be used for evil purposes. On this basis Socrates proves that if rhetoricians can use rhetoric for evil purposes, they have no knowledge concerning the subject of their art – justice, because one who knows what is just, always acts justly. Thus the relation between the technical and ethical spheres transpires to be the main point of contention. The question is whether a technician following the principles of the art he practices may act against good. This paradoxical statement based on the well-known Socrates’ principle "nemo sua sponte peccat" acquires philosophical foundations in the dialogue. In its remaining two parts Plato presents a justification, placing the principle within the framework of a certain concept of art, as a result of which not only rhetoric but also many other skills are criticised. The notions on which the conversation with Gorgias focuses are more precisely defined in the subsequent parts of the dialogue. Additionally, Plato presents twice the conditions which art should fulfill. They oblige the “technicians” to know the nature and purpose of the art and to know the causes of undertaken activities and to be able to justify them. These conditions determine the relation between the two spheres – technical and ethical. According to Plato, art may not act against good because it should be the objective of its activities. Certain concepts of good and knowledge outlined in the dialogue are the guarantees of “technicality”. Good, which should be respected by every art, is understood objectively and is contrasted with subjective pleasure. Knowledge, which should be the basis of art, opposes experience, which uses observation and recollection. Additionally, the definition of knowledge, significance of order in the world assuming the form of “geometrical equality”, significance of mathematics becoming the ideal of exactness indicate that Plato’s concept of knowledge is formed in Gorgias. These conclusions render it impossible that the results of any activity deserving the name of art should oppose good. And this is Plato’s main reproach of Gorgias’ concept, who wrote about false speeches possessing the power of conviction because they were written according to the principles proof of art or who defined tragedy as “a deceit, where he who cheats is more just than he who does not and the cheated is wiser than he who was not cheated”. Such determination of the relation between the technical and ethical sphere resulted from Gorgias’ concept of the world and fundamental philosophical principles. The whole concept of art described by Plato in the dialogue opposes the view presented by Gorgias. According to Plato, every technical activity has a defined object (ἔργον), is based on knowledge (ἐπιστήμη) and is always aimed at the good of human soul or body. The danger revealed and presented in the dialogue by Plato exists in the very concept of art presented by Gorgias, i.e. in its empirical foundations and the resulting understanding of the relation between art and good. Gorgias’ concept of art based on empirical cognition, which concerns the world of phenomena and rejects the possibility of perfect knowledge, leads, according to Plato, to a dangerous falsification of the relation between art and good. Plato proves that this weakness of Gorgias’ concept is revealed when confronted with these representatives of “the magnificent art” who are not protected against radicalism by the adherence to the moral tradition. The comparison of two, completely contrasting concepts of art based on different philosophical understanding of knowledge and good is decisive for the criticism of rhetoric in Gorgias. The concept presented by Plato criticises contemporary rhetoric and sophistry but determines the direction of research of the real art of rhetoric. (shrink)

Contemporary philosophers have contributed to the development of the skill model of wisdom, according to which practical wisdom is practical skill. However, the model appears to be limited in its explanatory power, since there are asymmetries between wisdom and skill: A person with practical wisdom can and should deliberate about the end being pursued; by contrast, a person with a particular practical skill cannot deliberate about the end of the skill, and even if she can, she is not required to (...) do so. In this paper, I undermine these widely held asymmetries by elucidating the unnoticed nature of skill. (shrink)

This chapter contains sections titled: The Intentions of Art Can Private Intentions Go Public? The Intention to Make a Poem Poems Are Made out of Words Blake's “London”.

The relationship between the physical world and technology is fraught with complications; and yet both physis and techne are necessary to create the environment in which humanity may flourish. Approaching the issue from a philosophical standpoint, this article introduces a series of papers that deal with the interface between philosophy and technology, the critical discussion of the challenges posed by technologies, and their impact or implications.

I argue that the strict account of techne agreed to by Socrates and Thrasymachus in Republic I provides a useful framework for addressing a central question of the dialogue as a whole: how philosophy might belong to the polis. This view depends upon three positions: 1) that Plato invites us to interpret the relationship between techne and polis outside the terms of the city-soul analogy, 2) that the strict account contributes to a compelling description of vocational work, and (...) 3) that this description determines what Socrates means by a true polis, and thus frames the problem of philosophy’s political inclusion. (shrink)

Machines are often employed in Heidegger’s philosophy as instances to illustrate specific features of modern technology. But what is it about machines that allows them to fulfill this role? This essay argues there is a unique ontological force to the machine that can be understood when looking at distinctions between techne and mechane in ancient Greek sources and applying these distinctions to a reading of Heidegger’s early thought on equipment and later thought on poiesis. Especially with respect to Heidegger’s (...) appropriation of Aristotle’s conception of dunamis, it becomes apparent from a Heideggerian perspective that machines provide an increase in capacity to its human users, but only so at a cost. This cost involves a problem of knowledge where the set of operations required in machine use results in the loss of understanding our dependency on being. The essay then concludes with a discussion of how this relation to machinic capacity is not merely pessimistic and deterministic, but indicates what might constitute a free relation to machines. (shrink)

This study explores child health care nurses’ pedagogical knowledge when supporting parents in their parenthood using various teaching practices, that is how to organise and process the content during parent education groups in primary health care. The aim is to identify teaching practices used by child health care nurses and to analyse such practices with regard to Aristotle's three forms of knowledge to comprehensively examine child health care nurses’ use of knowledge in practice. A qualitative methodological design alongside the analysis (...) of video‐recordings was used. The results showed that child health care nurses used four teaching practices: lecturing, demonstration, conversation and supervision. Their use of episteme was prominent, but they also seemed to master techne in combination with episteme during the first three teaching practices. During the conversation teaching practice, the child health nurses rarely succeeded. Consequently, they missed opportunities to identify mothers’ expressed concerns and to act in the best interests of both the mothers and their infants by the use of phronesis. In health care, however, theoretical episteme is superordinate to productive knowledge or phronesis, which also became evident in this study. Nevertheless, more interactive pedagogical practices are needed if more use of phronesis is to become a reality in parent education groups. (shrink)

Este artigo analisa a relação entre τέχνη e ἀλήθεια, mostrando como Heidegger recorre a essas concepções gregas para afirmar que a técnica moderna representa o fim da filosofia. Trata-se de ler Heidegger a partir de sua própria obra, assumindo como ponto de partida as preleções _O Sofista de Platão_ (1924/1925). Nestas, ao preparar a interpretação do diálogo platônico, Heidegger mostra que, em Aristóteles, ἐπιστήμη e τέχνη são os dois modos imediatos do ἀληθεύειν e dizem respeito, respectivamente, àquilo que propicia o (...) saber (ἐπιστημονικόν) e a reflexão (λογιστικόν). Em sua obra tardia, Heidegger postula a técnica moderna, cuja essência é denominada _Ge-stell_, como o fim da filosofia. Nesse cenário, este artigo propõe construir uma chave de leitura para a técnica moderna como fim da filosofia a partir da interpretação que Heidegger apresenta sobre a τέχνη em Platão e Aristóteles. Argumenta-se que a técnica moderna não é apenas um meio para um fim, mas um modo da verdade que subjugou até mesmo o pensar filosófico, culminando no domínio da técnica sobre todas as esferas da existência. (shrink)