![]() The argument doesn't seem prove a time in which nothing existed, he states in premise 5, 'Therefore there could have been a time when no things existed.' Notice Aquinas uses the word 'could', implying the possibility of this not occurring.įrom the original argument, Summa Theologica Part I, Question 2, Article 3: Premise 3 states, 'For each contingent being, there is a time it does not exist.' This doesn't negate the possibility of an infinite regress, as each contingent thing would, at one point, not have existed in an infinite chain of causation. Receive its existence from another being, but rather causes them. Therefore some being exists of its own necessity, and does not ![]() Therefore not every being is a contingent being.Ĭ. We have reached an absurd result from assuming that every being is a Therefore, nothing would be in existence now. Therefore at that time there would have been nothing to bring theĬurrently existing contingent beings into existence. Therefore there could have been a time when no things existed. Therefore it is impossible for these always to exist. We find in nature things that are possible to be and not to be, thatĬome into being and go out of being i.e., contingent beings.Īssume that every being is a contingent being.įor each contingent being, there is a time it does not exist. Challenging conventional accounts, he describes the readymade strategy not merely as a rejection of painting, but as a means of producing new models of the modern self.The Third Way: Argument from Possibility and Necessity (Reductio argument) Taking into account underacknowledged works and focusing on the conjunction of the machine and the commodity in Duchamp's art, Joselit notes a consistent opposition between the material world and various forms of measurement, inscription, and quantification. In Infinite Regress, David Joselit considers the plurality of identities and practices within Duchamp's life and art between 19, conducting a synthetic reading of his early and middle career. Within his oeuvre Duchamp practiced a variety of modernist idioms and invented an array of contradictory personas: artist and art dealer, conceptualist and craftsman, chess champion and dreamer, dandy and recluse. There is not one Marcel Duchamp, but several. ![]() If you can’t find the resource you need here, visit our contact page to get in touch.Įstablished in 1962, the MIT Press is one of the largest and most distinguished university presses in the world and a leading publisher of books and journals at the intersection of science, technology, art, social science, and design. The MIT Press has been a leader in open access book publishing for over two decades, beginning in 1995 with the publication of William Mitchell’s City of Bits, which appeared simultaneously in print and in a dynamic, open web edition.Ĭollaborating with authors, instructors, booksellers, librarians, and the media is at the heart of what we do as a scholarly publisher. Today we publish over 30 titles in the arts and humanities, social sciences, and science and technology. MIT Press began publishing journals in 1970 with the first volumes of Linguistic Inquiry and the Journal of Interdisciplinary History. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |