This paper addresses theoretical challenges, still relevant today, that arose in the first decades of the twentieth century related to the concept of the organism. During this period, new insights into the plasticity and robustness of organisms as well as their complex interactions fueled calls, especially in the UK and in the German-speaking world, for grounding biological theory on the concept of the organism. This new organism-centered biology understood organisms as the most important explanatory and methodological unit in biological investigations. (...) At least three theoretical strands can be distinguished in this movement: Organicism, dialectical materialism, and holistic biology. This paper shows that a major challenge of OCB was to describe the individual organism as a causally autonomous and discrete unit with consistent boundaries and, at the same time, as inextricably interwoven with its environment. In other words, OCB had to conciliate individualistic with anti-individualistic perspectives. This challenge was addressed by developing a concept of life that included functionalist and metabolic elements, as well as biochemical and physical ones. It allowed for specifying organisms as life forms that actively delimit themselves from the environment. Finally, this paper shows that the recent return to the concept of the organism, especially in the so-called “Extended Evolutionary Synthesis,” is challenged by similar anti-individualistic tendencies. However, in contrast to its early-twentieth-century forerunner, today’s organism-centered approaches have not yet offered a solution to this problem. (shrink)

Inspired by Hannah Arendt, this contribution offers an exercise of thought as an attempt to distil anew the original spirit of what education means. It tries to articulate the event or happening that the word names, the experiences in which this happening manifests itself and the (material) forms that constitute it or make it find/take (its) place. Starting from the meaning of scholè as ‘free time’ or ‘undestined and unfinished time’ it further explores scholè as the time of attention which (...) is the time of the regard for the world, of being present to it (or being in its presence), attending it, a time of delivery to the experience of the world, of exposure and effacing social subjectivities and orientations, a time filled with encounters. Education, then, relates to forms of profanation, suspension and attention and can be articulated as the art (the doing) and technology that makes scholè happen. (shrink)

The oral eye is a metaphor for the dominance of global designer capitalism. It refers to the consumerism of a designer aesthetic by the 'I' of the neoliberalist subject, as well as the aural soundscapes that accompany the hegemony of the capturing attention through screen cultures. An attempt is made to articulate the historical emergence of such a synoptic machinic regime drawing on Badiou, Bellmer, Deleuze, Guattari, Lacan, Rancir̈e, Virilio, Ziarek, and Zizek to explore contemporary art (post-Situationism) and visual cultural (...) education. Jagodzinski develops the concept of an 'avant-garde without authority,' 'self-refleXion' and 'in(design)' to further the questions surrounding the posthuman as advanced by theorists such as Hansen, Stiegler and Ziarek's 'force' of art. (shrink)

Following Foucault, ‘critique’ could be regarded as being the art not to be governed in this way or as a project of desubjectivation. In this paper it is shown how such a project could be described as an e‐ducative practice. It explores this idea through an example which Foucault himself gave of such a critical practice: the writing of ‘experience books’. Thus it appears that such an e‐ducative practice is a ‘dangerous’, public and uncomfortable practice that is not in need (...) of pastoral care but requires generosity, presence and attention. As such it demands a pedagogy of experience which is to be invented in order to ‘make’ oneself into a question, to transgress the limits of a governmental regime. (shrink)

Contemplating the techniques of white nationalism used to refuse Black ontology and deny Black belonging to the humanity of Canadian nationhood, this article considers how art imaginatively visualizes rebellion against the racist logics that regulate such denials. Exploring the function of hyperbole, this article examines the ways the willfully heightened strangeness of the extraterrestrial Afro-Astronaut and Black Muslim monster depicted in performance and visual art trouble racial matrixes through the dissonance provoked by the Other's unfamiliar display of excess.

Following Foucault, ‘critique’ could be regarded as being the art not to be governed in this way or as a project of desubjectivation. In this paper it is shown how such a project could be described as an e‐ducative practice. It explores this idea through an example which Foucault himself gave of such a critical practice: the writing (and reading) of ‘experience books’. Thus it appears that such an e‐ducative practice is a ‘dangerous’, public and uncomfortable practice that is not (...) in need of pastoral care but requires generosity, presence and attention. As such it demands a pedagogy of experience which is to be invented in order to ‘make’ oneself into a question, to transgress the limits of a governmental regime. (shrink)

This article explores Buber’s philosophy of art, correlating it with his early emphasis on individual realization, as well as his dialogical philosophy as articulated in I and Thou and in his theopolitical perspectives. The study posits that Buber perceives artistic creation as a conduit for communication with noumenal reality, mirroring the structure of interpersonal dialogue. Consequently, artistic creation is proposed as a blueprint for fostering an organic community or building the divine kingdom on Earth. The article integrates Adir Cohen’s examination (...) of Buber’s aesthetics and Samuel Brody’s theopolitical analysis, aiming to interweave these perspectives in a comprehensive interpretation of Buber’s philosophy of art. (shrink)

This paper explores and ultimately affirms the surprising claim that artificial intelligence (AI) can become part of the person, in a robust sense, and examines three ethical and legal implications. The argument is based on a rich, legally inspired conception of persons as free and independent rightholders and objects of heightened protection, but it is construed so broadly that it should also apply to mainstream philosophical conceptions of personhood. The claim is exemplified by a specific technology, devices that connect human (...) brains with computers and operate by AI-algorithms. Under philosophically reasonable and empirically realistic conditions, these devices and the AI running them become parts of the person, in the same way as arms, hearts, or mental capacities are. This transformation shall be called empersonification. It has normative and especially legal consequences because people have broader and stronger duties regarding other persons (and parts of them) than regarding things. Three consequences with practical implications are: (i) AI-devices cease to exist as independent legal entities and come to enjoy the special legal protection of persons; (ii) therefore, third parties such as manufacturers or authors of software lose (intellectual) property rights in device and software; (iii) persons become responsible for the outputs of the empersonified AI-devices to the same degree that they are for desires or intentions arising from the depths of their unconscious. More generally, empersonification marks a new step in the long history of human–machine interaction that deserves critical ethical reflection and calls for a stronger value-aligned development of these technologies. (shrink)

Embodied cognition is an interpretative—or hermeneutical—cognition inherent in motor-sensory perception intrinsically informed by biological and sociocultural memory, a cognition embedded in the organism as well as the socio-cultural environment interacting with it (Ward et al. TOPOI 36:365–375, 2017), of which technologies are a part. Yet, smart machines are advancing on human abilities to perceive and interpret concerning the accuracy, quantity, and quality of the data processed. Machines process and categorize images, perform classification tasks, they calculate and perform pattern analysis, all (...) machine learning processes are task-specific. Machine learning processes resemble human interpretative processes; however, these are two very different ways of “dealing with something,” although both can be said to be hermeneutical, one enactive, the other material; the first is a meaning-generating interpretative process, the second a statistics-based information output. The information extracted from all the data fed into the computer is the end-product of machine learning, whereas human interpretative enactments are continuous and necessary for any application of the information output. (shrink)

This book is the second half of a project begun to make available to the English reader a substantial selection of Jan Mukarovsky's critical writings. Th first volume, The Word And Verbal Art (New Haven, 1977). comprised essays devoted to literature. The present volume contains sixteen of essays on aesthetics and arts other than literature.

In the Middle Ages more than in other periods, eschatology informed the way people understood humankind and the world. The papers in the present volume are devoted to the complexity and interconnectivty of the eschatological orientation of the Middle Ages. Central topics are questions of the influence and formation of eschatological themes in philosophy and the significance of ideas of the final end in medieval political thought. In addition, there is a consideration of further themes from history, theology, art and (...) literature. The 29th volume of the Miscellanea Mediaevalia contains the papers delivered to the 32nd Cologne Medieval Studies Conference plus additional contributions. The volume includes five papers on the 50-year history of the Thomas Institute, which has been organising the Cologne Medieval Studies Conference for the last half century. (shrink)

The 13th century is often regarded as the epitome of the Middle Ages. The present volume aims to demonstrate new perspectives in research into this century. The main topics in the book are questions from the fields of theoretical and practical philosophy, theology, the history of institutions, problems in literature, art, learning and education, and cultural contact. This 27th volume of the Miscellanea Mediaevalia contains the papers delivered to the 31st Medievalists’ Conference held in Cologne in September 1998, together with (...) a number of additional contributions. In keeping with the basic idea of the Cologne Medievalists’ Conferences, the volume is divided into 10 sections containing the 38 papers from philosophy and history, literary history and theology, and the history of learning and the arts. (shrink)

This paper explores and ultimately affirms the surprising claim that artificial intelligence (AI) can become part of the person, in a robust sense, and examines three ethical and legal implications. The argument is based on a rich, legally inspired conception of persons as free and independent rightholders and objects of heightened protection, but it is construed so broadly that it should also apply to mainstream philosophical conceptions of personhood. The claim is exemplified by a specific technology, devices that connect human (...) brains with computers and operate by AI-algorithms. Under philosophically reasonable and empirically realistic conditions, these devices and the AI running them become parts of the person, in the same way as arms, hearts, or mental capacities are. This transformation shall be called empersonification. It has normative and especially legal consequences because people have broader and stronger duties regarding other persons (and parts of them) than regarding things. Three consequences with practical implications are: (i) AI-devices cease to exist as independent legal entities and come to enjoy the special legal protection of persons; (ii) therefore, third parties such as manufacturers or authors of software lose (intellectual) property rights in device and software; (iii) persons become responsible for the outputs of the empersonified AI-devices to the same degree that they are for desires or intentions arising from the depths of their unconscious. More generally, empersonification marks a new step in the long history of human–machine interaction that deserves critical ethical reflection and calls for a stronger value-aligned development of these technologies. (shrink)

ABSTRACTBased on an overview of the ways in which politics and the political have been thought in critical discourse analysis, the author calls for a focus on the metapolitical dimension of discourse. The author develops his notion of metapolitics on the basis of post-foundational insights into politics, the political and processes of politicization. Metapolitics refers to projects and struggles where conflicting modes and models of politics clash. Metapolitical debates potentially reshape the structure of the public realm as well as the (...) entities, borders and processes that constitute it. The author differentiates his descriptive and analytic use of the term from the way this signifier has been used programmatically by the anti-democratic New Right and its heirs. He demonstrates that metapolitical projects can be democratic as well as anti-democratic. In order to facilitate discourse analyses of metapolitical projects, debates and struggles, the author suggests that the metapolitical dimension of contemporary debates can be explored further by integrating insights from governmentality studies, studies of political rationality and the discourse theoretical logics approach with CDA. Moreover, a further exploration of the linguistic and textual underpinnings of metapolitics constitutes a promising pathway for future investigation. The study of metapolitics should be part and parcel of the transdisciplinary domain of critical discourse studies so that our understanding of the linguistic and non-linguistic features of metapolitical projects can be developed in equal measure at multiple levels of abstraction. (shrink)

In the field of medically assisted reproduction (MAR), there is a growing emphasis on the importance of introducing new assisted reproductive technologies (ARTs) only after thorough preclinical safety research, including the use of animal models. At the same time, there is international support for the three R’s (replace, reduce, refine), and the European Union even aims at the full replacement of animals for research. The apparent tension between these two trends underlines the urgency of an explicit justification of the use (...) of animals for the development and preclinical testing of new ARTs. Considering that the use of animals remains necessary for specific forms of ART research and taking account of different views on the moral importance of helping people to have a genetically related child, we argue that, in principle, the importance of safety research as part of responsible innovation outweighs the limited infringement of animal wellbeing involved in ART research. (shrink)

Please note that this article belongs to the Special Issue on “New Styles of Thought and Practices: Biology in the Interwar Period,” guest editors Jan Baedke and Christina Brandt, but was included in volume 52, issue 2, Summer 2019 by mistake. It should be regarded as part of this special issue collection of articles.

In this paper, I present a conception of individual religiousness in terms of religious experience. Using ideas of the early Friedrich Schleiermacher, I will claim that religious experiences are contemplative experiences of the totality of being. This understanding of religious experiences presents an alternative to how religious experience is often epistemologically thought about in the more contemporary analytic philosophy of religion. Furthermore, it has systematic advantages: It can construe religious plurality in terms of different ways to experience the totality of (...) being, it stays neutral to metaphysical and moral debates such as whether there is a God whose laws we should obey, and it allows for an explanation of how religious intuitions and religious emotions relate to one another as well as of why religiousness and art often go hand in hand. Even though understanding religiousness in terms of contemplative experience also bears revisionary potential, I will discuss how more doxastic elements of religious people’s lives can be reintegrated into this picture. (shrink)

The aim of this book is a recovery of interest in the experience of meaning. Jan Zwicky defends the claim that we experience meaning in the apprehension of wholes and their internal structural relations, providing examples of such insight in mathematics and physics, literature, music, and Plato's ancient theory of forms. Taken together, these essays constitute a powerful indictment of the aggressive reductionism and the reliance on calculative modes of thought that dominate our present conception of understanding. The Experience of (...) Meaning proposes a more just epistemology, arguing for a new grammar of thought, a new way of understanding the relationship of human intelligence to the world. Engaging with philosophy, psychology, literature, fine arts, music, and environmental studies in a profound way, The Experience of Meaning will interest any reader who ponders the question of meaning and its relation to true human expression. (shrink)

The pandemic implied an acceleration of the impending devastation of various forms of public pedagogical life attached to the campus, changing the ecology of study and affecting the sense-ability and response-ability of the university as an ‘association for/to study’ (‘universitas studii’). This contribution sketches two developments that play a role in this weakening of pedagogical life: the establishment and expansion of a hyper-modern learning factory and the creation of the figure of the independent learner. It is suggested that the rejuvenation (...) and regeneration of pedagogical life can be supported by a critical pedagogy that cultivates the art of distinction in order to describe and indicate the distinctions that matter to various forms of pedagogical life and what they make happen. This is then exemplified through a brief discussion of the lecture and the seminar engendering ‘spoken science’. Finally, it is indicated how a rejuvenation and regeneration implicates students and scholars. (shrink)

E. H. Gombrich's Adoption of the Formula form Follows Function: A Case of Mistaken Identity? This article is a longer note on what is a minor problem in the oeuvre of a great art historian. Its theme is E. H. Gombrich's use of the formula form follows function as the summary of his commonsense approach to the problem of style change. Although I am not sure how interesting this inquiry is in an art historical context, from the perspective of my (...) own field of design history and of modernist design theory, Gombrich's adoption of the formula constitutes an intriguing problem. (shrink)

The ontological question challanges the nature of the existence of works of art. The text presents basic questions that meaningfuly put questions about the ontological nature of art. It also examines the hypothesis of the physical object and R. Wollheim's arguments against this hypothesis. The essence of the article is the reconstruction of P. Lamarque's approach, which in his book, Art & Object, distinguishes these two elements as key to explain how works of art exist. The object is considered to (...) be a medium, but from the point of view of pure objects, artwork does not exist. Lamarque argues that art occurs where there is also cultural and institutional understanding of objects as works of art. (shrink)

In recent debates in moral psychology and literary Darwinism, several authors suggested that narrative art plays a significant role in the process of the social learning of moral norms, functioning as storage of locally salient moral information. However, an integrative view, which would help explain the inner workings of this morally educative function of narrative art, is still lacking. This paper provides such a unifying theoretical account by bringing together insights from moral psychology, educational sciences, cognitive/evolutionary narratology, and cultural evolution. (...) A study of contemporary American rap music is included to showcase the benefits of this integrative approach in the context of one particular type of narrative art. (shrink)

This paper makes the case for a sharper terminology regarding AIs cognitive abilities. In arguing that thinking requires more than content production, I offer a definition of meaning drawing on a clear distinction between living and machine intelligence. A pivotal argument is the re-use of the Turing Test (TT) for understanding which theories of meaning and consciousness are no longer plausible—because they have been reproduced by software without thereby gaining conscious experience. In following the few theories that have not (yet) (...) failed this reversed Turing Test (RTT), the focus turns towards rethinking the human condition in times of AI along the lines of three questions: What if a machine developed consciousness? What if AI proceeded without developing a consciousness? What, if machinic and human intelligence merged? These three questions in the end lead to examining three related possible futures of humanism as now determined by the relation between Human Intelligence and AI. (shrink)

Logical positivism had an important impact on the Danish intellectual climate before World War Two. During the thirties close relations were established between members of the Vienna Circle and philosophers and scientists in Copenhagen. This influence not only affected Danish philosophy and science; it also impinged on the cultural avant-garde and via them on the public debate concerning social and political reforms. Hand in hand with the positivistic ideas you find functionalism emerging as a new heretical language in art, architecture, (...) and design. Not surprisingly, you may say, since the logical positivists’ wishes of stripping philosophy of metaphysics is spiritually similar to the functionalists’ desire to get rid of symbols and ornaments. One event more than anything confirmed the connection between the Vienna Circle, Denmark, and the rest of the Nordic countries. For a short while Copenhagen became the centre for the Circle’s activities when in 1936 the 2nd Inter national Congress for the Unity of Science was held there between June 21 and 26. A photograph, taken during the conference, shows many of the participants sitting in the hall of Carlsberg’s honorary mansion where Niels Bohr was living at the time. Among the audience you find Otto Neurath , Carl Gustav Hempel and Karl Popper , but also some of the more prominent Danish scientists and scholars whose world views were congenial with the logical positivists. (shrink)

Bundel filosofische essays over kunst en esthetica.

Neuf études sur l'art et le temps - c'est-à-dire - l'art et l'histoire. Regard historique sur l'esthétique, analyse des conceptions du Beau dans la tradition philosophique, au travers d'exemples venant de la Grèce, de la Renaissance, du Romantisme, et d'auteurs comme Burckhardt ou Hegel - ces essais sont le prétexte à une exploration des grandes questions métaphysiques sur l'art et les hommes, analyses par un auteur dont l'engagement concret contre le régime totalitaire de son pays porte la marque de son (...) souci de l'homme et de sa dignité. (shrink)

Science and humanity are usually seen as very different: the sciences of nature aim at explanations whereas the sciences of man seek meaning and understanding. This book shows how these contrasting descriptions fail to fit into a modern philosophical account of the sciences and the arts. Presenting some of the major ideas within the philosophy of science on facts, explanation, interpretation, methods, laws, and theories, Jan Faye compares various approaches, including his own. Arguing that the sciences of nature and the (...) sciences of man share a common practice of acquiring knowledge, this book offers a unique introduction to key aspects in the philosophy of science. (shrink)

Preview: /Review: Timothy Morton, All Art is Ecological, (London: Penguin Books, 2021), 105 pages./ The book All Art is Ecological provides a provocative and entertaining, but no less concise and instructive study into the nature of the relationship between art and ecological awareness – from the perspective of one of the leading object-oriented ontologists of our time. In that sense, this book can also be read as a short introduction to Morton’s philosophy, which judging by his other books, provides solid (...) theoretical foundations for a critical reflection on the contemporary human condition. (shrink)

The method and criteria that are used for detecting the aesthetic value in works of art are among the key themes of aesthetic epistemology. The object of this study is to attempt a rational reconstruction of the background of art criticism. In tradition Western thought, aesthetic value lies in archieving unity in complexity, unitas multiplex. In the 20th century, this duality was enriched by a third category, intensity. In 1989, Tomáš Kulka suggested that these three categorical features could be detected (...) within works of art by applying a falsification proving method to the aesthetic value. Kulka described an intuitive process of assessing the aesthetic value of works of art by finding possible alternations that would contribute to improving and/or damaging the work of art. The number of possibilities thus found may lead us to recognize the aesthetic value of the work of art. This paper addresses Kulka's concept, emphasizing some of its potential problematic aspects and concluding with a suggested percentage modification of Kulka's concept that might better correspond with an practical background in assessing the aesthetic value of works of art. (shrink)

In this essay I consider the end-of-art thesis in its metaphysical and empirical versions. I show that both use the correspondence theory of truth as the basis for their conception of the history of art. As a counterpart to these theories I have chosen Patočka’s conception of the history of art. His theory is based also on the relationship between art and truth, but he conceives truth in the phenomenological sense of manifestation. In the rest of the essay I seek (...) to show the consequences Patočka’s conception has for the history of art. In the rst part, I set out to show Patocka’s critique of Hegel’s aesthetics as a system based on the correspondence theory of truth. In particular, I endeavour to explain his critique of some intrinsic problems of Hegel’s aesthetics, the general failure of Hegel’s system to achieve its goal, and, lastly, Hegel’s giving up on the meaning of the art in the present. I also seek to show that Danto’s version runs into the same problems and conclusions as Hegel’s. In the second part I discuss Patočka’s analysis of modern art and the aesthetic attitude, where he nds a hidden a nity between art and aletheia, which Hegel overlooked. e last part of the essay focuses on the consequences that the conception of the truth of art as aletheia have for the history of art. I conclude that art in such a conception represents an independent eld of the manifestation of being in history beside philosophy. Moreover, modern and contemporary art do not mean the end of art; rather, they have their place in art history based on aletheia, since they are more focused on the manifestation itself than on what is manifested. Unlike Hegel and Danto, therefore, Patočka retains the historical meaning of modern and contemporary art. His conception of the history of art, summed up under the idea of aletheia, has greater explanatory potential than Hegel’s and Danto’s conceptions, and it retains the historical meaning of modern and contemporary art. (shrink)

Agency without Actors? New Approaches to collective Action is rethinking a key issue in social theory and research: the question of agency. The history of sociological thought is deeply intertwined with the discourse of human agency as an effect of social relations. In most recent discussions the role of non-humans gains a substantial impact. Consequently the book asks: Are nonhumans active, do they have agency? And if so: how and in what different ways? The volume offers a critical state-of-the-art debate (...) of internationally and nationally leading scholars within Sociology, Social Anthropology and STS on agency (Latour, Law, Michael, Rammert etc.). It fosters the productive exchange of empirical settings and theoretical views by outlining a wide range of novel accounts that link human and non-human agency. It tries to understand social-technical, political and environmental networks as different forms of agency that produce discrete and identifiable entities like humans, animals, technical artifacts. It also asks how different types of (often conflicting) agency and agents actors are distinguished in practice, how they are maintained and how they interfere with each other. (shrink)

Recoge extensos extractos de veinte trabajos del filósofo, organizados en grandes epígrafes temáticos.

In the novel A Burnout-Out Case, Graham Greene argues for an intimate relationship between burnout and happiness. The novel claims that a life worth living is a continuous balancing between something painful, e.g. burnout and something desirable, e.g. happiness. In this essay, I try to make a case for the happiness of burnout. By examining the case story of a young artist, who suffered from burnout, I describe how such suffering might open up for a necessary reevaluation of the values (...) that actually make sense. Such creation of new values is what eventually leads to more happy moments, not happiness per se. This essay provides a philosophical reflection regarding the relationship between happiness and burnout in order to say something regarding which life is worth living. (shrink)

One of the vexed questions in the philosophy of wonder and indeed education is how to ensure that the next generation harbours a sense of wonder. Wonder is important, we think, because it encour- ages inquiry and keeps us as Albert Einstein would argue from ‘being as good as dead’ or ‘snuffed-out candles’ (Einstein 1949, 5). But how is an educator to install, bring to life, or otherwise encourage a sense of wonder in his or her stu- dents? Biologist Rachel (...) Carson suggests that exploring nature and specifically undertaking walks along the rocky coast of Maine would keep alive a person’s inborn sense of wonder (Carson 1984). Philosopher Jesse Prinz thinks that exposure to art will encourage wonderment because artworks, as he puts it, are “inventions for feeding the appetite that wonder excites in us” (Prinz 2013). Weird fiction (a subgenre of speculative fiction) – and in particular the work of one of its greatest exponents, the early-20th-century American author How- ard Phillips Lovecraft – is likewise a catalyst for wonder. The reason behind this is that Lovecraft’s ‘wonder-stories’ are densely packed with wonder per design; and in support of this claim I shall in what is to come 1) provide a brief introduction to Lovecraft and weird fiction; 2) present a working definition of wonder; and 3) clarify what is meant by something being ‘densely packed with wonder’ via bringing to the fore evidence of Lovecraft’s literary wonder- mongery. The paper ends with some reflections on the notion of ‘dark wonder’, why this peculiar label might be suitable for the kind of wonder we find in Lovecraft’s work, and why exposure to ‘dark wonder’ can be edifying, and in that sense educational. (shrink)

In order to discuss our problem I propose to adopt a definition of art as an ensemble of man-made objects of specific character, of materials, tools and institutions, of people—those who produce and those who commission or look at works of art—and of techniques and skills mastered by the artists. Art—so broadly understood—has no sharp limits, it is an area connected by hundreds of links with the whole of social, economic, intellectual and spiritual life. It is exposed to various disturbances (...) since any one occurring in those other areas with which art is connected must of necessity affect art and its development to a greater or smaller degree. Lack of demand for some kind of artistic products must lead to the extinction of the corresponding kind of production. For instance, images of saints disappeared in those parts of Germany which adopted the Reformation. One can say in general, that, since various factors of social and economic character influence the life of art, it must reflect the results of those crises which affect social, political or economic life, although the way art reacts on various disturbances may be varied. It may seem natural that in a period of unemployment and of high prices society cannot afford to devote as much money to invest in the goods of culture as it does in times of prosperity, and often it is so indeed. (shrink)