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The present article critically examines three distinct interpretations regarding the foundations of Illuminationist philosophy (Ḥikmat al-Ishrāq) and the intellectual lineage of its progenitor, Sheikh al-Ishrāq (Suhrawardī). While each perspective acknowledges Suhrawardī as a reviver of earlier wisdom traditions, they tend to construct a linear historical narrative that traces his intellectual heritage back to his predecessors. Upon closer inspection, it becomes evident that Suhrawardī's relationship with this wisdom transcends mere educational transmission, defined by a direct and personal motivation sourced from an exceptional origin. At the heart of Suhrawardī's philosophical framework lies the concept of "eternal dough" (Khamireh Azali), which encapsulates a circular understanding of time and eternity, reminiscent of the intrinsic relationship between the radii of a circle and its center. This circularity within his thought facilitates the synthesis of mysticism insights and historical connections, thereby affirming the immediate relationship of mystics with the Divine and the comparative lineage of philosophers. Suhrawardī’s methodology integrates both intuitive and historical dimensions, positing that his philosophical lineage transcends mere linear progression and instead manifests as a complex network of insights emanating from a central source of wisdom. Consequently, the intuitive essence of Illuminationist philosophy necessitates this distinctive mode of knowledge acquisition, thereby distinguishing it from conventional historical interpretations. This exploration invites a reevaluation of the epistemological foundations of Suhrawardī's thought and underscores the intricate interplay between intuition and tradition in the development of Islamic philosophy. The roots of wisdom lie deep, intertwining with the branches of intuition.

This article offers a philosophical analysis of G. W. F. Hegel’s conception of music as articulated in his lectures on aesthetics, with a focus on music’s unique ontological and speculative status within absolute spirit. It argues that, for Hegel, art functions as a practice of truth by supplementing empirical reality through productive semblance (Schein). Rather than representing reality, art condenses it in a way that renders its constitutive principles intelligible. Music realizes this function in its most radical form. The study demonstrates that Hegel understands music as the paradigmatic romantic art, distinguished by the negation of spatial objectivity and the primacy of intensity, vibration, and interiority. By abolishing stable external form, music transforms sensuous material into oscillation and movement. Central to this transformation is the speculative concept of Ton, which unites sound, tone, and materiality. Ton exists only insofar as it vanishes, giving music the structure of a double negation through which being appears as trembling and persistence in dissolution. Moreover, the article shows that music produces a distinctive temporal order by interrupting homogeneous duration through rhythm and cadence. This interruption renders time structured and countable, enabling the emergence of subjectivity as self-relation rather than substance. Finally, it is argued that music occupies a privileged position within absolute spirit because it makes audible the immanence of subjectivity and the inner movement of thought itself. By rendering disappearance perceptible, music provides a non-representational yet rigorous access to the truth of subjectivity and temporality.

This paper adopts a conceptual–phenomenological approach to examine Minecraft’s potential to foster abstract thinking in children. Drawing on Piaget’s cognitive development theory, Vygotsky’s sociocultural theory, Dewey’s philosophy of experience, and Gadamer’s hermeneutics of play, it integrates conceptual analysis of in-game structures such as three-dimensional blocks, Redstone circuits, spatial relations, symbolism, and metaphor with a phenomenological exploration of children lived gameplay experiences. Fourteen key components of abstract thinking are identified, including spatial visualization, symbolic and logical reasoning, algorithmic thinking, analogy, systems thinking, planning, imagination, and metacognitive reflection. Empirically, the study is supported by interviews and participant observations with 25 children aged 10–12 over five weeks. The findings indicate that Minecraft’s iterative processes of building, testing, and redesign, together with collaborative interaction and low-risk experimentation, enhance spatial and logical skills while promoting higher-order thinking, symbolic understanding, and early forms of theorization. The game’s multimodal environment further supports visual meaning-making, pattern recognition, and self-regulation. Overall, Minecraft is presented not merely as a space for play, but as a philosophically and educationally significant medium that contributes to the development of conceptual thinking and offers a model for rethinking learning environments in contemporary education.

The biggest hurdle in 2500 years of philosophy has always been man himself – more specifically, the contents of his cranium, which a great many words have been used to describe. Existentialism and the Phenomenology of Perception (Merleau-Ponty) managed for the first time in the history of mankind to focus philosophy a bit more closely on ourselves. It took us until the end of the 20th century to come to the understanding that “we are our brain” (Dick Swaab) and that “we need to shift our focus from the mind to our brain” (Victor Lamme). What we then see is 100 billion brain cells, all “chattering with each other” (Victor Lamme), leading us to an initial insight into our history and evolution and our essential characteristics. We discover that our focus is now on processes in the brain, which I have chosen to call ‘experience’ or ‘the process of experience’. The neurological discoveries of the 20th century have not yet resulted in changes to our terminology; we still make use of outdated terms in talking about the new situation.I have given philosophical anthropology a new concrete substance on the basis of the definition of American philosopher and member of the American Philosophical Association Jim Dagenais: “a consistent overall vision of man and his world”, so that it can serve as the basis for philosophy and thus as the foundation for human life.The meaning of basic concepts is completely re-examined. Following developments in the 20th century, traditional definitions no longer serve our purpose; we must rigorously adapt our language to these developments so that it once again meets the basic requirements for communication. Then it allows us to describe a contemporary philosophy of human beings and to find answers to today’s questions and issues.