摘要：In this paper,the researcher examines lessons from massive open online courses(MOOCs)in the liberal art in a *** intends to define a research agenda into the social epistemology impact of MOOCs,in order to reflect on changes in academic sub-culture and on learning measurement among students in *** this reason the researcher suggests focusing attention on three features of MOOC phenomenology:MOOCs as a social epistemology—an active policy initiative to promote greater democratization of education;MOOCs as a medium and an academic sub-cultural artifact(mediated texts,videos,interface,platform functionalities)able to convey learning to distant learners;and,lastly,MOOCs as a measurement—in other words as instrumentation(i.e.,learning statements,analytics,algorithms,visualizion tools,dashboards etc.)that allows students to monitor,analyze,and optimize the effectiveness of online teaching and *** paper also highlights their limits in these regards based on the perspectives of social epistemology.

摘要：Certain confusion may be observed in the field of biomimetic architecture,as it emerges at the crossroad of two disciplinary domains:architectural design and biological *** biomimetics is defined as a science,once it is applied to architecture,biomimetic architecture should logically be defined as a science *** assertion collides with the nature of architectural design,which may rather be defined as a technology:its aim is to transform the world,not to explain *** the one hand,there is no obvious relationship between architecture and life *** the other hand,the biomimetic approach tends to redefine the concept of science itself by seeking to avoid the excesses of ***,existing applications of biomimetic design show that it is difficult to observe a genuine biomimetic architecture;most cases are closer to engineering component or urban planning and sometimes they involve little or no life *** aim of this paper is to describe this conceptual confusion through two movements called“forcings”,occurring between design and *** forcings are conceptualised as shifts between constructed scientific objects and given empirical ***,used in biology as in architecture,allow these shifts by virtue of their double *** are both tools for knowledge and for design,thus they may be conceptually forced into what they are not supposed to be,particularly in the field of biomimetic architecture where design process and scientific knowledge are said to meet.

摘要：Rather than addressing the myths or cosmologies supposedly expressed in rock art, this paper explores some of the myths that have been and are still being created about rock art. We know from the study of the last rock art-producing peoples in the world that outsiders of their cultures cannot interpret their rock art correctly, or even understand their cosmologies adequately. This is not surprising, in view of the neuroscientific understanding of the underlying differences. In a sound hermeneutical system, the normative nature of interpretation must be recognized and accounted for. The record shows that little hermeneutical restraint has been exercised in rock art research, and that the discipline＇s credibility demands the expulsion of the extensive myths that have been created by it. Some of the most prominent of these falsities are presented to illustrate the point.

摘要：Civilizational breakthrough of ＂axial time,＂ implemented ＂human band＂ in the middle of the first millennium BC practically simultaneously in different latitudes of our planet--this is the time of the birth of science and arts, the development of language as a literary tradition, the becoming of Myth as an active picture of the world--a subjective objective, a philosophical understanding of what is the person and being that surrounds him and what he creates, and formation of knowing the world by the word and deed of the subject and, at the same time, the thinking object possessing political reflection. However, political reflection has one significant drawback--the brevity of historical memory, which should from time to time be brought to life, refreshing the milestones of events and the wisdom of others＇ reflections, so that cognitive dissonances do not arise freely （arbitrarily） or malicious aforethought of political phenomena （war, state, strategist-politician, political power, etc.）, breaking the membrane of human hostel---ethos, the philosophy of culture, art with science and the craving for work. The 20th century （and lasting the first quarter of the 21 st century）, is as a vivid illustration of endless wars and permanent revolutions, as an age of world and local conflicts, demonstrating an indissoluble connection with the ancient myth, the 20th scattered the teeth of mythology, rehashing the world and the principles of the state, destroying boundaries and the empire, unleashing new wars, multiplying ethnic conflicts, sweeping away valued reference point and changing anthropological signs, disagreeing with the essential in man： depriving the Word and the Cause.

摘要：This short paper is about art and science and the human struggle to figure out the world we live in. It is also about the imagination and human progress, rationality and subjectivity, as well as the development of devices to ascertain out accurate knowledge--and yet the imagination and forms of thought are themselves devices that are integral to mechanical inventions. At the core of the subject under discussion, the aesthetic can be found reasons for the existence of other phenomena, the rational and the sensitive, epistemology and phenomenology, fulfilling human pleasure and necessity, and moving forward a humanized cosmos. Somewhere seems to rise and grow afresh a precise image of what we actually are and it can be revealed simply by being in the world and experiencing it on the basis of the mind-body-worM or by extending human senses through technology.