Complete reference edition. A new philosophical system created by Sorin Cerin. Its principles are: 1. The only true philosophy is the one accepting that Man does neither know the Truth, and implicitly, nor philosophy. 2. Man shall never neither know the Absolute Truth nor the Absolute Knowledge because his entire existence is based on the Illusion of Life. 3. Any philosophical system or philosopher which will pretend that says the Truth is liar. 4. The Coaxialism is, by excellence, the philosophy that does NOT pretend that it speaks the Truth, yet that accepts applications which sustain the reporting of the Illusion of Life to the Truth. 5. The Essence of the Truth consists in its reflection at the Elements appeared before its, as are those of Open Knowledge coming from the State of Fact. 6. The Coaxialism accepts operation with the opposites of the opposites of the Existence, with or without to be necessary the reporting to it, determining the Coaxiology. 7. Each Opposite has at Infinite another Opposite identical to it. 8. With as, an Opposite, is farther, so, between it and the Element opposable are inserted a larger number of opposites, with so the similarities between them will be more pronounced, and, with as, the number of opposites intercalated between the two Elements, will be smaller, with so, the contrasts between them will be more pronounced. 9. How can we speak of Universes without substrate in Existence, we can speak of the Knowledge without substrate in essence, hence, without subject. 10. The factor will always be the opposite of the infinity, face to which it will report as finite, just as the Knowledge is reported to the Un-knowledge, and the life to Death. In understanding coaxial, the Factor will be equivalent to God, the Unique Creator but and, by chance, face of his worlds. 11. In the worlds of each Creator Factor and Unique by Chance it will reflect all other Creator Factors and Unique by Chance under form of numbers, from ONE, which is the Primordial Factor, up to an infinite minus ONE of theCreator Factors and Unique Chance.

In The Universal One, Walter Russell presents a groundbreaking perspective on the nature of the universe and the fundamental principles that govern it. Through a unique blend of science, philosophy, and spirituality, Russell challenges conventional understanding and offers a thought-provoking exploration of the interconnectedness of all things. This book invites readers to expand their consciousness and reconsider their perception of reality, as Russell unveils the universal laws that shape our existence.

This volume investigates the changing definitions of the author, what it has meant historically to be an 'author', and the impact that this has had on literary culture. Andrew Bennett presents a clearly-structured discussion of the various theoretical debates surrounding authorship, exploring such concepts as authority, ownership, originality, and the 'death' of the author. Accessible, yet stimulating, this study offers the ideal introduction to a core notion in critical theory.

Music can answer questions that often confound more discursive modes of thought. Music takes concepts that are all too familiar, reframes these concepts, and returns them to us with incisive clarity and renewed vision. Unity is one of these "all too familiar concepts," thrown around by politicians, journalists, and pastors as if we all know what it means. By turning to music, especially musical space, the relational structure of unity becomes less abstract and more tangible within our philosophy. Arnold Schoenberg, as an inherently musical thinker, is our guide in this study of unity. His reworking of musical structure, dissonance, and metaphysics transformed the tonal language and aesthetic landscape of twentieth-century music. His philosophy of compositional unity helps us to deconstruct and reconceive how unity can be understood and worked with both aesthetically and theologically. This project also critiques Schoenberg's often monadic musical metaphysic by turning to Colin Gunton's conviction that the particularity and unity at the heart of God's triune being should guide all of our theological endeavors. Throughout, music accompanies our thinking, demonstrating not only how theology can benefit the philosophy of music but also how the philosophy of music can enrich and augment theological discourse.

Faith and Place takes knowledge of place as a basis for thinking about the relationship between religious belief and our embodied life. Recent epistemology of religion has appealed to various secular analogues for religious belief - especially analogues drawn from sense perception and scientific theory construction. These approaches tend to overlook the close connection between religious belief and our moral, aesthetic and otherwise engaged relationship to the material world. By taking knowledge of place as a starting point for religious epistemology, Mark Wynn aims to throw into clearer focus the embodied, action-orienting, perception-structuring, and affect-infused character of religious understanding. This innovative study understands the religious significance of a site in terms of i. its capacity to stand for some encompassing truth about human life; ii. its conservation of historical meanings, where these meanings make a practical claim upon those located at the place at later times; and iii. its directing of the believer's attention to a sacred meaning, through enacted appropriation of the site. Wynn proposes that the notion of 'God' functions like the notion of a 'genius loci', where the relevant locus is the sum of material reality. He argues that knowledge of God consists in part in a storied and sensuous appreciation of the significance of particular places.