This book presents a new economic theory developed from physical and biological principles. It explains how technology, social systems and economic values are intimately related to resources. Many people have recognized that mainstream (neoclassical) economic theories are not consistent with physical laws and often not consistent with empirical patterns, but most feel that economic activities are too complex to be described by a simple and coherent mathematical theory. While social systems are indeed complex, all life systems, including social systems, satisfy two principles. First, all systems need to extract resources from the external environment to compensate for their consumption. Second, for a system to be viable, the amount of resource extraction has to be no less than the level of consumption. From these two principles, we derive a quantitative theory of major factors in economic activities, such as fixed cost, variable cost, discount rate, uncertainty and duration. The mathematical theory enables us to systematically measure the effectiveness of different policies and institutional structures at varying levels of resource abundance and cost.The theory presented in this book shows that there do not exist universally optimal policies or institutional structures. Instead, the impacts of different policies or social structures have to be measured within the context of existing levels of resource abundance. As the physical costs of extracting resources rise steadily, many policy assumptions adopted in mainstream economic theories, and workable in times of cheap and abundant energy supplies and other resources, need to be reconsidered. In this rapidly changing world, the theory presented here provides a solid foundation for examining the long-term impacts of today's policy decisions.

In The Unity of Consciousness Tim Bayne draws on philosophy, psychology, and neuroscience in defence of the claim that consciousness is unified. In the first part of the book Bayne develops an account of what it means to say that consciousness is unified. Part II applies this account to a variety of cases - drawn from both normal and pathological forms of experience - in which the unity of consciousness is said to break down. Bayne argues that the unity of consciousness remains intact in each of these cases. Part III explores the implications of the unity of consciousness for theories of consciousness, for the sense of embodiment, and for accounts of the self. In one of the most comprehensive examinations of the topic available, The Unity of Consciousness draws on a wide range of findings within philosophy and the sciences of the mind to construct an account of the unity of consciousness that is both conceptually sophisticated and scientifically informed.

'Fragmentation' has become a defining, albeit controversial, metaphor of international law scholarship in the era of globalisation. Some scholars see it as a new development, others as history repeating itself; some approach it as a technical issue and some as the reflection of deeper political struggles. But there is near-consensus about the fact that the established vision of international law as a unitary whole is under threat. At the core of the fragmentation debate lies the concept of unity, but this is hardly ever rationalised and is more assumed than explained. Its meaning remains vague and intuitive. 'The Concept of Unity in Public International Law' attempts to dispel that vagueness by exploring the various possible meanings of the concept of unity in international law. However, eschewing one grand theory of unity, it identifies and compares five candidates. Intentionally pluralistic in its outlook, the book does not engage in normative arguments about whether international law is or should be unitary but seeks to show instead that the concept of unity is contested and that discourses on fragmentation are necessarily contingent. The thesis on which the book is based won the 2009 Prize for best doctoral thesis from the Association des professeurs de droit du Québec.

Explores philosophical questions concerning the one and the many, covering a wide range of issues in metaphysics and deploying techniques of paraconsistent logic while bringing together traditions of Western and Asian thought.

This fascinating literary essay, written by the famous American writer and poet, Edgar Allan Poe, explores the mystique of artistic creation. By using his renowned poem ‘The Raven’ as an example, Poe explains how good writers write well, concluding that brevity, ‘unity of effect’ and a logical method are the most important factors. Taking the reader through the deliberate choices made when writing the poem, the author also discusses theme, setting, sound, and the importance of refrain. ‘The Philosophy of Composition’ (1846) is a perfect read for literary scholars, writers, and fans of Poe. Edgar Allan Poe (1809–1849) was an American writer, poet, editor and literary critic, best known for his gothic, macabre tales that include ‘The Fall of the House of Usher’, ‘The Tell-Tale Heart’, and ‘The Murders in the Rue Morgue’. One of America’s first short story writers, Poe is considered the inventor of detective fiction and a key figure in both horror and science fiction. His work had a profound impact on American and international literature and he was one of the first American writers to earn international recognition. His other notable works include ‘The Raven and other Poem’s’, (1845) ‘The Cask of Amontillado’, ‘The Fall of the House of Usher’, and ‘The Tell-Take Heart’. With many of his stories adapted for TV and screen, including the gothic 2014 film ‘Stonehearst Asylum’, starring Kate Beckinsale, Michael Caine, and Ben Kingsley, Poe continues to influence literature, film, and television to this day.

The quest for unity and multiplicity is one of the most important concerns in the history of human thought. Since the origins of the history of philosophy up to the present, we can observe more or less unceasing interest in the issue. The same holds of the writings of Thomas Aquinas, to whose conception this work is devoted. Since the problem of unity and multitude is closely linked to many other key metaphysical issues, such as the doctrine of transcendental concepts, the mode of composition of being qua being, as well as substantial and accidental being, or the doctrine of whole and part, we believe that its proper interpretation not only can clarify some partial metaphysical problem, but will also contribute to understanding the metaphysical thought of the Angelic Doctor as a whole.

A new theory of the unity of consciousness, considering both philosophical issues about the nature of persons and personalidentity and empirical findings in neuroscience.

DigiCat Publishing presents to you this special edition of "Ontology, or the Theory of Being" by P. Coffey. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

Divine oneness as the principle of beauty is perhaps quintessentially Islamic artistic expression and experience and what it celebrates. Why has Islamic art evolved as it has, what forms does it take, what is the logic underlying it? What message is the Muslim artist attempting to convey, what emotion is he seeking to evoke? This work views Islamic art as a subject of archeological study and treats its evolution as part of the historical study of art in the broader sense. At the same time, it paves the way for an epistemological shift from viewing Islamic art as a material concept having to do with beautiful rarities and relics that have grown out of Islamic cultural and artistic creativity, to a theoretical concept associated with a vision, a principle, a theory and a method. This theo-retical concept provides the intellectual and cultural foundation for a critical philosophical science of Islamic artistic beauty to which we might refer as ‘the science of Islamic art,’ or ‘the Islamic aesthetic’ that evaluates visual artistic creations in terms of both beauty and practical usefulness. In the process the study also explores orientalist misconceptions, challenging some of the premises with which it has approached Islamic art, with judgement rooted in a cultural framework alien to the spiritual perspective of Islam.