J. Raymond Zimmer

This paper tries to argue the thesis that the painting Las Meninas by Diego Velázquez contains a reflection about art, which deals in the medium of painting with three of the most important problems of aesthetics: the problem of the artist, the artwork and its reception. In order to prove this thesis, the paper analyses the picture with the assumption that Velázquez worked in front of a mirror. Furthermore, the aesthetic problems detected in the painting are developed in terms of a philosophy of art, concluding with the question of how mirroring can be considered a model for the structure of the artwork in general.

Leibniz was probably the last universal scholar in modern times who made original and innovative achievements in all the essential fields of knowledge of his time: as a reform-oriented lawyer, a multilateral thinking diplomat, as a mathematician of infinitesimal calculus, as the inventor of a calculating machine and in the mining of horizontal wind power, as an organizer of science and as one of the first historians who strived for source-critical methodical objectivity. However, this baroque diversity can only be understood from the center of a monadological philosophy, which wants to establish the unity of scientific worldview and metaphysical concept of the world. It is distorted in the classical reception because only Leibniz the Theodicy was known. The topicality of Leibniz today consists in re-exposing the original basic idea of unity in diversity and asking how it can be made fruitful for philosophical and political thought in the 21st century. This book is a translation of the original German 1st edition Leibniz und die Folgen by Jörg Zimmer, published by J.B. Metzler, imprint of Springer-Verlag GmbH, part of Springer Nature in 2018. The translation was done with the help of artificial intelligence. A subsequent human revision was done primarily in terms of content, so that the book will read stylistically differently from a conventional translation. Springer Nature works continuously to further the development of tools for the production of books and on the related technologies to support the authors.

In classical philosophy of time, present time mainly has been considered in its fleetingness: it is transition, in the Platonic meaning of the sudden or in the Aristotelian sense of discreet moment and isolated intensity that escapes possible perception. Through the idea of subjective constitution of time, Husserl’s phenomenology tries to spread the moment. He transcends the idea of linear and empty time in modern philosophy. Phenomenological description of time experience analyses the filled character of the moment that can be detained in the performance of consciousness. As a consequence of the temporality of consciousness, he nevertheless remains in the temporal conception of presence. The phenomenology of Merleau-Ponty, however, is able to grasp the spacial meaning of presence. In his perspective of a phenomenology of perception, presence can be understood as a space surrounding the body, as a field of present things given in perception. Merleau-Ponty recovers the ancient sense of ‘praesentia’ as a fundamental concept of being in the world.