This article aims to reconstruct Max Scheler’s conception of three types of knowledge, outlined in his late work Philosophical Perspectives (1928). Scheler distinguished three kinds of knowledge: empirical, used to exercise control over nature, eidetic (essential) and metaphysical. I review the epistemological criteria that underlie this distinction, and its functionalistic assumptions. In the article’s polemic part I accuse Scheler of a) crypto-dualism in his theory of knowledge, which draws insufficient distinctions between metaphysical and eidetic knowledge; b) totally omitting the status of the humanities in his classification of knowledge types; c) consistently developing a philosophy of knowledge without resort to the research tools offered by the philosophy of science, which takes such analyses out of their social and historical context (i.e., how knowledge is created in today’s scientific communities).

In the construction industry carbonate aggregates are commonly used in processes such as concrete production. Aggregates which contain (in their mineral composition) dolomite and an admixture of clay minerals and amorphous silica , can react with alkalis. These reactions can lead to a destructive expansion in concrete. This article explains the mechanisms and the essence of this phenomenon. What is more, some effective and fast methods of the estimation and evaluation of Polish aggregates consisting of carbonate rocks suggests effective methods to determine the usefulness of Polish carbonate aggregates in concrete production are discussed in the paper. Underneath the quality criteria to determine the reactivity of the aggregates will be given. It has been agreed that alkaline reaction and expansion are two separate phenomena related to each other genetically. The aggregates in which reactions caused by clay-siliceous admixtures occur are subjected to expansion. Mineral composition of expansive aggregates as well as their texture indicate that epigenetic dolomites with a distinctive texture are the most reactive. The phase transformations do not end with a complete disintegration of dolomite. They have a cyclical character. They consist of interchangeable reactions of dedolomitization and dolomitization of secondary calcite formed as a result of dolomite's disintegration. The secondary calcite can be effected by Mg+2 ions from pores' solutions and it can form a secondary dolomite. The Mg2+ ions originate from brucite [Mg(OH)2], created in dolomitization process. As a consequence of its reaction with silica, brucite can dissolve and enrich secondary calcite with magnesium. Therefore the reactions which take place in reactive carbonate aggregates and concrete that ismade of it are in fact ongoing processes which consist of dolomite's changes into calcite and vice versa. They are reactions between dedolomitization products (brucite, silica) and products from outside (water, alkalis). The described dedolomitization reactions are a phase of the process that enables expansion due to formation of pressure in inter-granular cracks, with pressure being a result of dry clay-minerals' expansion under the influence of water solutions. Loosening of the aggregate's structure as an effect of dedolomitization reaction makes it easier for water solutions to migrate far into the aggregate's grains followed by their contact with clay minerals.

Martin Heidegger in The Origin of the Work of Art (Der Ursprung des Kunstwerkes) developed a whole new way of thinking about art, going beyond traditionally understood aesthetics or even philosophy of art. Some of Heidegger’s thoughts, however, appear to be understated and only signal a huge complexity of both experiencing works of art and the very issue of the origin of the work of art. The analysis of the terms ‘dread’ and ‘eyeblink’ from Time and Being presented in this article complement and develop Heidegger’s ideas included in his essay. Linking art to these two crucial phenomena of fundamental ontological analysis of Dasein casts light on the status of art and its existential significance. The author aims mainly at demonstrating the aletheic connection (based on unclosedness) between the experience of ‘originary source’ of a piece of art and ‘dread’, and also, in conclusion, he points to the ‘event of Being’ as the essential, non-metaphysical origin of art.