#Value Theory
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dustedandsocial · 9 months ago
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Michael Heinrich, "The Present Political Value of Marx's Value Theory"
Science & Society event at John Jay College of Criminal Justice, 3/21/2024
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omegaphilosophia · 4 days ago
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The Philosophy of Axiology
Axiology is the branch of philosophy that studies values, including those of ethics and aesthetics. It focuses on understanding what constitutes "value" and seeks to explore the nature, origins, and criteria of what is considered valuable or worth pursuing in human life. Axiology is often divided into two major fields:
Ethics (Moral Values): Examines questions related to what is morally right or wrong, just or unjust, and the principles by which we make ethical judgments. Ethical axiologists explore theories of what it means to live a good life and the foundational basis of moral duties, obligations, and virtues.
Aesthetics (Aesthetic Values): Concerns itself with the nature of beauty, art, and taste. Aesthetic axiology explores the nature of artistic value, the criteria by which art and beauty are judged, and whether beauty is subjective (dependent on individual experience) or objective (having an inherent quality).
Key Questions in Axiology
Nature of Value: What does it mean for something to have value? Does value exist independently of human perception, or is it a construct of human experience?
Objective vs. Subjective Value: Are values universal and objective, or do they depend on individual or cultural perspectives?
Intrinsic vs. Extrinsic Value: Is something valuable in itself (intrinsic) or only valuable as a means to an end (extrinsic)?
Value Theories in Ethics and Aesthetics: How do we determine what is ethically good, beautiful, or desirable? What is the basis for moral and aesthetic judgments?
Role of Values in Life and Society: How do values shape individual lives, cultures, and societies? How do moral and aesthetic values influence human behavior and social institutions?
Philosophical Perspectives on Axiology
Objectivism in Value Theory: Argues that values exist independently of human beliefs or feelings. For instance, objectivists may hold that there are universal moral truths that apply to all people at all times, or that beauty has inherent qualities regardless of perception.
Subjectivism and Relativism: Maintains that values depend on personal or cultural perspectives. Ethical relativists, for example, believe that moral principles are not absolute but are shaped by cultural or individual differences. Similarly, in aesthetics, beauty might be seen as subjective and varying according to personal or cultural preferences.
Utilitarianism and Consequentialism: Emphasize value in terms of outcomes, such as happiness, utility, or pleasure. For example, in ethics, an act’s value is judged by its capacity to produce the greatest happiness for the greatest number.
Deontological and Virtue Ethics: In ethics, these theories look at the inherent moral value of actions or character traits, rather than their consequences. Deontology values actions based on adherence to duty or moral law, while virtue ethics values character traits like honesty, compassion, and courage.
Aesthetic Theories of Beauty and Art: Some philosophers, like Immanuel Kant, argue that aesthetic judgments have a basis in universal feelings of harmony, while others, like Friedrich Nietzsche, believe that beauty and art derive value from their power to express individuality and challenge norms.
Influence of Axiology
Axiology plays a significant role in shaping our understanding of both personal and societal ideals. For instance, in ethics, it informs discussions on human rights, justice, and morality. In aesthetics, it influences how we interpret and appreciate art, nature, and cultural artifacts. Axiology also intersects with fields like psychology, sociology, and economics, impacting everything from individual well-being to policies around art funding and human welfare.
By clarifying what we value and why, axiology provides insight into human motivation, guiding the ethical frameworks and aesthetic standards by which we live. It helps us question and refine what is worthwhile in life, leading to a deeper understanding of human purpose, fulfillment, and social harmony.
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frank-olivier · 2 months ago
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Art, Value, and the Visible Hand of the Market: Understanding the Invisible Forces at Play
The art world's metamorphosis into a luxury goods market has sparked intense debate about the commodification of creative works. A personal account of discovering a potentially valuable Mark Chagall print at an estate sale illustrates the complexities of this issue. Initially, the thrill of the find was eclipsed by insecurity, prompting a misguided attempt to legitimize the print's value through false claims of institutional validation. This anecdote serves as a microcosm for the art world's deeply ingrained desire for financial legitimacy, often prioritized over an artwork's intrinsic cultural, historical, or emotional significance.
The art market's emphasis on financial value is, in part, a legacy of its historically Eurocentric construction. Traditional art historical narratives have privileged Western artistic lineages, influencing the market's tendency to valorize works based on their proximity to these canons. The authentication process, once a means of verifying provenance, has evolved into a mechanism for conferring financial value. The Andy Warhol Art Authentication Board's contentious history, including a notable lawsuit, highlights the intricate web of interests driving the art market's validation apparatus.
The exponential growth of the Ultra High Net Worth Individuals (UHNWI) in the art market has further solidified the notion that artistic value is inextricably linked to financial worth. The proliferation of art-backed loans and the Mei Moses Fine Art Index, which tracks artworks' financial performance, has created a self-reinforcing ecosystem where art is increasingly treated as a luxury commodity. This development has profound implications for the way art is created, exchanged, and perceived.
Andrea Fraser's critique of the art world's complicity in its own commodification serves as a poignant reminder of the need for critical self-reflection. By acknowledging the inherent contradictions within the system, Fraser encourages stakeholders to reevaluate their participation in the art market. However, a more nuanced approach might involve recognizing the complex interplay between creative, cultural, and financial values, rather than simply opting out of the system.
Reclaiming the intrinsic value of art necessitates a multifaceted strategy. This could involve institutions and collectors actively promoting a broader definition of artistic value, one that encompasses cultural, emotional, and creative significance alongside financial worth. Moreover, fostering greater transparency within the art market, particularly regarding authentication and valuation processes, could help mitigate the influence of financial speculation. By embracing this more holistic understanding of artistic value, the art world can work towards a more equitable and sustainable ecosystem, one where creative expression is not solely beholden to financial interests.
Why I Lied to ArtNet - The Financialization of Art (Shannon Kim, November 2024)
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Tuesday, November 19, 2024
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theidealistphilosophy · 2 years ago
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Art does not simply reveal God: it is one of the ways in which God reveals, and thus actualizes, himself.
Georg Wilhelm Friedrich Hegel, Introductory Lectures On Aesthetics.
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republikkkanorcs · 12 days ago
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tr1ppykay · 8 months ago
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the more i participate in discussions of transmasculine issues, the more disgusted i become at the approach a lot of "trans inclusive" feminists have towards transmascs...
feminist theory exists to serve the real life people that are harmed by patriarchy. if theory is not sufficiently serving real human beings who are desperately looking for acknowledgment of their suffering, then it must be rewritten to make room for that acknowledgment. if transmasculine people are all telling you about discrimination they have experienced, and how feminist theory does not make room to talk about their unique relationship with gender based oppression, you modify the theory to make room. you don't bash them over the head with writing that doesn't account for their existence.
feminism is not a fundamentalist religion. it is a conversation that must account for new perspectives and evolve to encompass them if we want to make any progress. but many feminists who discount transmasculine experiences want to treat the current state of feminist theory as a bible of unwavering truth: if men who face gendered oppression aren't mentioned, then trans men must be wrong about their lived experiences. of course, your precious theory could never have blind spots!
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idkwhyyouaskingm3-blog · 5 months ago
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Is the MP definitely Trevor Herbert or is he the MP in the same way Elias Bouchard was the CEO of the Magnus Institute. I mean a homeless man would be an easy target or body snatching.
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cabbagestrand · 15 days ago
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oh, to be taken care of
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mebis-art-dump · 11 months ago
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There's a critical lack of maggot Godseeker in the fandom
(unmasked Godseeker speculation woooo)
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For reference:
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rejectingrepublicans · 20 days ago
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Marjorie Traitor Greene spends her days attacking the trans community and retweeting UFO conspiracy theories. This is what Georgia Republicans consider a priority.
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hydrossity-zone · 13 days ago
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@sonilverweek Day 3: Gardening
[click for better quality!]
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turtleblogatlast · 9 months ago
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[ cw: violence mention / death mention / ]
Will never stop thinking about how Leo, all alone in an endless void and being beaten again and again and again by the only other living thing around, still finds comfort in that space. The situation he was in was completely hopeless, and in any other circumstances he would not have escaped, at least not fast enough to save him from permanent (or even fatal) damage, be it physical or mental.
And yet, despite the bleakness of his situation, despite the agony and helplessness, all he needs is one glance at a crumbled photograph, one glance to remember his family, and that’s enough of a reason for him to smile.
Maybe that’s why his powers center around manipulating space - because no matter how much space is between them, no matter how dire his own situation may be, just the thought of his family, alive and okay, is enough to give Leo hope.
#rottmnt#rise of the teenage mutant ninja turtles#rottmnt leo#rise leo#the prison dimension is horrifying on its own#add in a monstrous being that towers over you and has vowed to ensure your suffering?#god I can’t imagine how scary that is#Mikey opening the portal was a miracle because if he hadn’t managed it there#it’s really up in the air what could have become of Leo#personally I subscribe by the theory that you straight up can’t die in the prison dimension#so it’s a prison in all ways#but the thought of a Leo who manages anyway who adapts and continues to have hope despite it all…#Leo saying he’s nothing without his family is a double edged sword really#because the thought of his family alone is all he needs to live. to hope.#to smile#nothing without them…but they’re EVERYTHING to him#and maybe he doesn’t realize it but…the feeling is mutual#one thing too is that hope that comforts Leo so much is not just that#should he think his family needs help - that hope can turn into determination#I’m unwell about this family#actually on my point of their powers - I truly do think the abilities tie in not only to their personalities#but to their relationship to family and love in general#kinda like love languages in a way#Mikey with his chains and time abilities values being around his family the most - he wants them to experience living in the moment togethe#Donnie is someone who is 100% a gift giver to show his love - his constructs are exactly that aren’t they? gifts of his mind#Raph is someone who willingly bears the weight of the shield - he protects his family like the best big brother possible#and Leo - he goes off on his own a lot but his mind is constantly on his family anyway#like a sailor at sea no matter how far he travels the compass always point in one direction - and for him that compass points home#even if he can’t make it back - it’s still there#and that’s enough
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tears-of-taelia · 1 year ago
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How many times have we done this, Interceptor? You betrayed me at one point.
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shmowder · 2 months ago
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In case you missed it, Game Rant did an interview with Nikolay Dybowski about Pathologic 3. Here is the link for it.
And here are the bits that stood out the most to me:
Q: The non-linearity of time and how it will be related to the nature of the Town are also core story components. How did this affect design and direction?
A: Connecting non-linear time with a long, narrative-heavy story that involves many characters and cause-and-effect chains would be extremely difficult. We focused on what the player feels in the moment rather than on gathering information in the right order. The latter approach works well in shorter formats like Her Story or 12 Minutes, but in Pathologic, it would be overwhelming.
We wanted players to feel like “everything, everywhere, all at once”—similar to Billy Pilgrim in Slaughterhouse-Five. Different versions of reality coexist simultaneously, creating a “quantum” feeling for the player. Look at the time travel mechanic as an opportunity to correct mistakes, or even to make deliberate mistakes in order to unlock new paths and ideas. It is like a "sanctioned save scum."
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Q: Conversely, how will it (Pathologic 3) connect to and consider the events and characters in Pathologic 2?
A: Consider it as two subjective retellings of the same events. This is the same Town, the same twelve days, the same participants and events that occurred in the Haruspex’s story. But this is a different perspective. Like two witnesses recounting the same event in Rashomon, the stories vary greatly, each focusing on different details. Finally, we always give our heroes the right to make honest mistakes, forget, and even lie. Every narrator is an unreliable narrator.
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Q: How did Pathologic’s previous philosophical explorations help inform or play into the narrative and themes here?
A: Everything we now see as true and valuable, we’ve kept. Everything we’ve outgrown, like childhood clothes, we either reimagined and reinterpreted to give these ideas new meaning, or let go of them. After all, we’ve grown a lot (hopefully, along with the industry). When I first conceived Pathologic, I was 21 and completely alone. Now I’m 47, surrounded by incredibly talented people who enrich this universe as much as I do, and that makes a difference.
We’ve kept the idea of the tragedy of utopian projects. We kept the idea that the plague is a voice of the natural order—one that the thinking human mind cannot accept—and that it has its own truth. We retained the belief that evil cannot be defeated with its own tools or outplayed on its field; yet it can be defeated realistically in a different, orthogonal way. In another dimension.
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Q: It’s mentioned that the Bachelor is searching for an immortal man in Pathologic 3. Can you say if this is in reference to Mark Immortell?
A: No, there’s no connection between Simon Kain (one of the town’s rulers) and Mark Immortell (the director of the town theater). Mark is a clown. He awkwardly mimics Simon, parodying him, which is why he takes on this pseudonym. He's fully aware that he’s a jester, and the gesture itself is ironic.
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Q: What do you hope players will take away most from Pathologic 3?
A: The hope that humanity remains a promising and capable species.
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Also, new game pictures and screenshots dropped:
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(some are old ones I forgot to post)
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sunder-the-gold · 5 months ago
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Communist Labor Theory of Value makes Communist Utopia impossible
The Communist Utopia is a world in which humanity does not need a central government, because everyone will be equal to each other and everyone will be provided what they need.
Let us skip over the question of who has to do the hard work of providing, and what those laborers get in exchange for providing everything that everyone else needs.
Let us skip ahead to the notion that "everyone" has enough of what they need, and so the only exchange of value happens in regards to luxuries.
Subjective Value Theory
The free-market theory of Subjective Value declares that two individuals will never truly agree on the value of what each wants and what the other demands in exchange. They must either reach a compromise with each other, or else make no voluntary exchange. In necessary, one or both must leave each other to seek someone else willing to make a more subjectively acceptable compromise.
From beginning to end, such an exchange is completely voluntary. Coercion may occur at any point, but no point mandates coercion.
Labor Theory of Value; Objective Value Theory
Under Marxism, that which is not mandatory is forbidden.
Marxists demand that a central managerial authority exist to act as God, laying down verdicts about the objective value of everything.
No one is allowed to voluntarily make a subjective decision about what their time or property is worth to them. The state tells them what their time and property is worth.
No one is allowed to voluntarily decide who they give their time or property away to. The state tells them who they must trade with.
No one is allowed to voluntarily decide what they must trade for. The state tells them what they must purchase and who they must employ.
From beginning to end, all exchanges in a Marxist system are coerced.
Such a system CANNOT abolish the state. This practice MUST perpetuate the state, forever.
Therefore, Marxism or Communism does not work even in theory. That which cannot work even in theory certainly can never work in practice, no matter how many times you try.
But Marxists never want to achieve true communism. Marxism works just fine in theory and in practice for achieving a Marxist's true desires: Ruling over the working class as a professional freeloader.
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yujeong · 5 months ago
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Alright, folks, now that we have gotten the first 3 episodes, I believe it is time to revisit the gorgeous posters of a few months back and see what clues they might include. Many people believe there are two timelines in the show and I believe the posters confirm that. A timeline in which Dome lives and a timeline in which Dome dies. Let's see what the posters may say about that: 1st clue: Dome and Tonkla are the only ones facing the right -> possible proof Dome is Tonkla's younger brother.
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Everyone else is facing the left.... ...except Win. Win is the only one facing the front.
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I believe this can mean two things: either it's related to his job OR he's connected to both timelines - one Dome is alive and one Dome is dead (though that might be impossible, so take it with a grain of salt). 2nd clue: Speaking of Win, both his and Title's poster have the exact same shape of light on them.
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Again, in my opinion this could mean two things: Title is one of the victims (current or future - never forgetting the Tonkla scene in ep2) or Title was the one who threatened Win to stop prying in ep3. Or both. 3rd clue: Both Title's and Korn's posters have them not facing the camera, opposed to everyone else.
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At first, I thought it had something to do with them possibly not being involved in any of the supernatural elements of the show, aka never learning about it or it never influencing them, but I don't think that's true. Title is the one who kills Dome in one timeline and doesn't kill Dome in the other, and Korn knows about Great's condition from Great himself. So, I think this means these two will die. If Title is the one Tonkla kills in ep2, then that would make sense. As for Korn, this man has so many death flags, the real surprise would be if he survives by the end, honestly. I'm preparing the tears in advance just for you, sugar daddy. I could also say stuff about the shapes of the light hitting the characters, but I have nothing intelligent to say about that aspect of the posters, so I'll leave it at that for now. Hopefully the next eps will give us more clues.
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