Almost all philosophers agree that a necessary condition on lying is that one says what one believes to be false. But, philosophers haven’t considered the possibility that the true requirement on lying concerns, rather, one’s degree-of-belief. Liars impose a risk on their audience. The greater the liar’s confidence that what she asserts is false, the greater the risk she’ll think she’s imposing on the dupe, and, therefore, the greater her blameworthiness. From this, I arrive at a dilemma: either the belief (...) requirement is wrong, or lying isn’t interesting. I suggest an alternative necessary condition for lying on a degree-of-belief framework. (shrink)

This book reconstructs the rise and fall of Wilhelm Wundt’s fortunes, focusing for the first time on the role of Richard Avenarius as catalyst for the so-called “positivist repudiation of Wundt.” Krauss specifically looks at the progressive disavowal of Wundtian ideas in the world of scientific psychology, and especially by his former pupils. This book provides important historical context and a critical discussion of the current state of research, in addition to a detailed consideration of Wundt’s and Avenarius’ systems (...) of thought, as well as on their personal relationship. The author outlines the reception of Avenarius’ conceptions among Wundt’s pupils, such as Külpe, Münsterberg and Titchener, and among other psychologists of the time, such as Ward, James and Ebbinghaus. Finally, this book presents Wundt’s two-fold attempt to respond to the new trend through a criticism of the “materialistic” psychology, and a reformulation of his own ideas. (shrink)

Lorazepam has been repeatedly shown to induce memory impairments. The effects of this benzodiazepine on the processes involved in the strategic regulation of memory accuracy have not as yet been explored. An experimental procedure that delineates the role of monitoring and control processes was used. Fifteen lorazepam and 15 placebo subjects were examined using a semantic memory task that combined both a forced- and a free-report option and a no-incentive and an incentive condition. Memory accuracy was lower in the lorazepam (...) than in the placebo group. Lorazepam impaired control sensitivity (the extent to which volunteering of answers is affected by the confidence judgments). While the absolute aspect of monitoring was impaired (calibration scores), both the discriminative aspect (the ability to distinguish between correct and incorrect answers) and the response criterion setting (the confidence threshold set for volunteering a report) were spared. The pharmacological dissociation between monitoring effectiveness and control sensitivity indicates that these two components involve distinct processes. (shrink)

Lorazepam has been repeatedly shown to induce memory impairments. The effects of this benzodiazepine on the processes involved in the strategic regulation of memory accuracy have not as yet been explored. An experimental procedure that delineates the role of monitoring and control processes was used. Fifteen lorazepam and 15 placebo subjects were examined using a semantic memory task that combined both a forced- and a free-report option and a no-incentive and an incentive condition. Memory accuracy was lower in the lorazepam (...) than in the placebo group. Lorazepam impaired control sensitivity . While the absolute aspect of monitoring was impaired , both the discriminative aspect and the response criterion setting were spared. The pharmacological dissociation between monitoring effectiveness and control sensitivity indicates that these two components involve distinct processes. (shrink)

This book offers an up-to-date insight into the early philosophical debate on Einsteinian relativity. The essays explore the reception and interpretation of Einstein’s ideas by some of the most important philosophical schools of the time, such as logical positivism (Reichenbach), neo-Kantianism (Cassirer, Natorp), critical realism (Sellars), and radical empiricism (Mach). The book is aimed at physicists and historians of science researching the epistemological implications of the theory of relativity, as well as to scholars in philosophy interested in understanding how leading (...) philosophical figures of the early twentieth century reacted to the relativistic revolution. (shrink)

A study of the development of Eisenman's architectural theory, taken from the 'texts' which he himself wrote every time he designed a house.

Machine generated contents note: Introduction: The Rise of Philosophical Art Criticism 1 -- Chapter 1. In the Beginning Was Formalism 17 -- Chapter 2. The Structuralist Adventure 33 -- Chapter 3. The Historicist, Antiessentialist Definition of Art 55 -- Chapter 4. Resentment and Its Discontents 71 -- Chapter 5. The Deconstruction of Structuralism 87 -- Afterword: The Fate of Philosophical Art Criticism 111.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 80-87 [Access article in PDF] The Beauty of Henri Matisse David Carrier Because beauty has for a long time now been politically incorrect (at least among certain influential critics and academic historians) the art of Henri Matisse has recently suffered from a kind of benign neglect. His goals were luxury, calm, and voluptuousness, not social critique. He painted female nudes, and was (...) preoccupied with artistic tradition. Celebrated in his own lifetime, he died a rich man. Matisse's famous identification of the work of art with a good armchair is another provocation. His paintings, after all, are very expensive armchairs. Liberated from any vital connection with everyday life, they often seem merely escapist. In her recent book, On Beauty and Being Just, Elaine Scarry remarks, "Matisse never hoped to save lives. But he repeatedly said that he wanted to make paintings so serenely beautiful that when one came upon them, suddenly all problems would subside."1 That some of Matisse's paintings succeed in being serenely beautiful seems self-evident to Scarry, to me, and to a great many other art lovers. What is perhaps worth exploring at greater length, however, is precisely how Matisse's paintings succeed in achieving their unfashionable goal. What is it that makes the work of Matisse so serenely beautiful?To start, consider The Painter and His Model (1918-1921), made just after his move from Paris to Nice. Like other works from this period of his career, this picture raises special problems, even for many commentators who admire his earlier experimentation. At the left, we see the painter working on a canvas of a nude. "Expression, for me," Matisse wrote, "does not reside in passions glowing in a human face."2 Like most of his models, this one appears expressionless. She poses at the center of the picture, beneath a window that admits the light filling the room. A flowering palm, a symbol of fertility, is the only object visible from the world outside the studio.Leaving behind his family and the luxury of his Paris home, Matisse lived and worked in a small room like this one. The entire picture is filled [End Page 80] with patterns — a red tablecloth on the left, orange wallpaper on the right, blue stripes on the painter's shirt, a red grid on the floor. A dark painting hangs above flowers on the table. The Painter and His Model shows the artist hard at work, but the composition appears effortlessly spontaneous. Matisse, who lived only to paint during his time in Nice, concealed the endless effort required to make his beautiful pictures. A man from North France, he discovered the power of light. There is nothing special about this room, but under the spell of his model Matisse makes it appear ravishing. Intense Mediterranean sunlight transforms ordinary patterns into a world of visual luxury.We know that The Painter and His Model is beautiful because we get great pleasure seeing the model in the golden room. Her skin is close in tone to, or in harmony with the colors of the walls; her curves harmonize with the two vases, and play against the spreading linear grids. As we move our eyes easily from the model to the entire picture, we experience a kind of sublimated erotic pleasure. In "Notes of a Painter," Matisse gave an apt description of his approach in The Painter and His Model. Suppose I want to paint a woman's body: first of all I imbue it with grace and charm, but I know that I must give something more. I will condense the meaning of this body by seeking its essential lines. The charm will be less apparent at first glance, but it must eventually emerge from the new image which will have a broader meaning, one more fully human. (MA, 36) He does not use the word "beauty," but speaks instead about expression and harmony. When he published this manifesto, Matisse was painting very different sorts of pictures — portraits, scenes of nudes in utopian settings, and... (shrink)

How might philosophers and art historians make the best use of one another's research? That, in nuce, is what this special issue considers with respect to questions concerning the nature of photography as an artistic medium; and that is what my essay addresses with respect to a specific case: the dialogue, or lack thereof, between the work of the philosopher Stanley Cavell and the art historian-critic Rosalind Krauss. It focuses on Krauss's late appeal to Cavell's notion of automatism (...) to argue that artists now have to invent their own medium, both to provide criteria against which to judge artistic success or failure and to insulate serious art from the vacuous generalization of the aesthetic in a media-saturated culture at large.1 Much in the spirit of ‘Avant-Garde and Kitsch’, paying attention to the medium is once again an artist's best line of defence against the encroachment of new media, the culture industry, and spectacle. That Krauss should appeal to Cavell at all, let alone in such a Greenbergian frame of mind, is surprising if one is familiar with the fraught history of debate about artistic media in art theory since Greenberg. Cavell's work in this domain has always been closely associated with that of Michael Fried, and the mutual estrangement of Fried and Krauss, who began their critical careers as two of Greenberg's leading followers, is legendary.2I have written about the close connection between Fried's and Cavell's conceptions of an artistic medium before.3 Whereas Fried's and Cavell's early conception of an artistic medium was in a sense collaborative, emerging from an ongoing exchange of ideas at Harvard in the latter half of the 1960s, Krauss's much later appeal to the ideas of automatism and the automatic underpinning Cavell's conception of the photographic substrate of film from the early 1970s is not. In what follows, I try to clarify both the grounds of this appeal and its upshot. Does Krauss's account shed new light on Cavell's, or is she trying to press his terms into service for which they are ill-served? Both could of course be true, the former as a consequence of the latter perhaps. Conversely, do the art historical and philosophical accounts pass one another by? Note that even if the latter were true, its explanation might still prove instructive in the context of an interdisciplinary volume seeking to bring art historians and philosophers into dialogue around the themes of agency and automatism, which is precisely what Krauss's appeal to Cavell turns on. (shrink)

Jak i dlaczego powstał Wszechświat? Problem z naukowym wyjaśnieniem istnienia Wszechświata polega na tym, że zakłada ono pewną fizyczną przyczynę jego istnienia. Ale jakakolwiek fizyczna przyczyna Wszechświata musi być częścią Wszechświata, którego zaistnienie ma wyjaśnić. Z tego powodu każde czysto naukowe wyjaśnienie istnienia Wszechświata jest skazane na zapętlenie. Być może żadna teoria naukowa nie może przerzucić mostu pomiędzy absolutną nicością a istniejącym już Wszechświatem.Okazuje się jednak, że gdy metafizyczne pytanie typu: dlaczego istnieje Wszechświat? zamienimy na „bardziej naukowe”: w jaki sposób (...) powstał Wszechświat?, to mamy szansę na gruncie fizyki przedstawić współczesną wersję „historii” powstania Wszechświata. Kosmolog Lawrence M. Krauss twierdzi, że w tym celu wystarczy porzucić mętne – z punktu widzenia fizyki – pojęcie absolutnej nicości i za punkt wyjścia uznać fizyczną próżnię. Ponieważ – jak wynika z mechaniki kwantowej – kwantowa próżnia to dalece nie to samo co nicość metafizyczna, możliwe jest – w świetle naszej współczesnej wiedzy – powstanie Wszechświata z „niczego”. (shrink)

Nineteenth-century German-speaking scientific philosophy (which is broader than philosophy of science as it concerns every aspect of philosophy from a scientific standpoint and not just science fro...

In a recent article, Krauss (2017) raises some fundamental questions concerning (i) what the desiderata of a definition of lying are, and (ii) how definitions of lying can account for partial beliefs. This paper aims to provide an adequate answer to both questions. Regarding (i), it shows that there can be a tension between two desiderata for a definition of lying: 'descriptive accuracy' (meeting intuitions about our ordinary concept of lying), and 'moral import' (meeting intuitions about what is wrong (...) with lying), vindicating the primacy of the former desideratum. Regarding (ii), it shows that Krauss' proposed 'worse-off requirement' meets neither of these desiderata, whereas the 'comparative insincerity condition' (Marsili 2014) can meet both. The conclusion is that lies are assertions that the speaker takes to be more likely to be false than true, and their distinctive blameworthiness is a function of the extent to which they violate a sincerity norm. (shrink)

From Leibniz to Krauss philosophers and scientists have raised the question as to why there is something rather than nothing. Why-questions request a type of explanation and this is often thought to include a deductive component. With classical logic in the background only trivial answers are forthcoming. With free logics in the background, be they of the negative, positive or neutral variety, only question-begging answers are to be expected. The same conclusion is reached for the modal version of the (...) Question, namely ‘Why is there something contingent rather than nothing contingent?’. The categorial version of the Question, namely ‘Why is there something concrete rather than nothing concrete?’, is also discussed. The conclusion is reached that deductive explanations are question-begging, whether one works with classical logic or positive or negative free logic. I also look skeptically at the prospects of giving causal-counterfactual or probabilistic answers to the Question, although the discussion of the options is less comprehensive and the conclusions are more tentative. The meta-question, viz. ‘Should we not stop asking the Question’, is accordingly tentatively answered affirmatively. (shrink)

Clark and Krauss [1977] presents a classification of complete, satisfiable and o-categorical theories in first order languages with finite non-logical vocabularies. In 1988 the first author modified this classification and raised three questions about the distribution of finitely axiomatizable theories. This paper answers two of those questions.

Preyer and Krausse’s Sociology on Next Society proposes a new perspective on interpreting the global society of the future. In these Notes, the author discusses some of the key points of the volume. The paradigm shift in the sciences is often introduced by the creation of a new language, a new view of the relationship between words and things. The question is whether this semantic and epistemological feature also characterizes the approach proposed by Preyer and Krausse. The sociology of the (...) Next Society – observes the author – is in fact the latest attempt to get rid of the sociology of social systems based on the analogy between society and living organism. This attempt has been underway for at least 50 years and this volume constitutes the final result. In reality, it is a question of freeing sociology from the hegemony of the socio-biological sciences. And it is not an easy task. The author asks whether this attempt has been successful and what the results are in terms of interpreting the new form of the world. On the one hand, the sociology of the Next society places itself in the sphere of the new theories on the world but, on the other, it still adopts a traditional model. In fact, it aims at overcoming the “society of individuals”, typical of the modern-bourgeois western society, with a society based on the membership of social, professional, etc. orders. The ordering of society should be based on the “membership order”. The authors themselves qualify the next society as a neo-feudal society. How prolific is its approach is still an open question. The numerous researches promoted and directly conducted by the authors are an attempt to give an empirical basis to their proposal. Compared to other theories of global society, the sociology of the next society shows its vitality in placing itself at the level of the “global” analysis of the world. Its limits, perhaps, are in not seeing that there are different “projects” or “forms of globality” competing with each other. Each civilization has a claim to universality and a project of hegemony over the world that could be better understood through an approach based on the concept and paradigm of social conflict, both within societies and between societies and civilizations. (shrink)

Argumento que precisamos mudar de perspectiva na elucidação da referência a Mauthner no Tractatus. A pergunta a ser feita não é “Quais são as semelhanças ou diferenças entre os projetos de Mauthner e do Tractatus?”, mas “Por que Wittgenstein se deu ao trabalho de negar que sua Sprachkritik poderia ter alguma relação com Mauthner?”. A significatividade da negação em “não no sentido de Mauthner” (TLP 4.0031) não se encontra em um problema comum para o qual Mauthner e Wittgenstein teriam suas (...) respostas, como pensavam Janik e Toulmin, mas no fato da Sprachkritik de Mauthner figurar, dentro do Círculo Kraus, como expressão da superficialidade moral da Europa no início do século XX.AbstractThe paper argues that we need to change our perspective to elucidate the reference to Mauthner in the Tractatus. The question is not “What are the similarities or major differences between Mauthner’s views and the Tractatus?” but “Why did Wittgenstein bother to deny that his Sprachkritik could have anything to do with Mauthner’s?” The significance of the negation in “not in Mauthner’s sense” (TLP 4.0031) is not found in a common problem to which Mauthner and Wittgenstein had different answers, as Janik and Toulmin thought, but in the fact that Mauthner’s Sprachkritik is seen within the Kraus Circle as an expression of the moral superficiality of European culture at the beginning of the 20th century. (shrink)

According to commentators like Rosalind Krauss, Briony Fer, Caroline Jones, and Michael Fried, Clement Greenberg’s formalist/positivist device of “medium-specificity” debars errant affective aesthetic experiences that are embodied; despite significant differences in how these theorists arrive at this conclusion, one shared point of emphasis is Greenberg’s inheriting Kant’s disinterested conception of pleasure in reflective judgments of beauty. Offering a textualist review of Kant’s Analytic of the Beautiful, I seek to demonstrate that neither Greenberg, nor Greenberg’s critics, are correct in their (...) account of Kant’s judgments of beauty.1 Specifically, I argue that Greenberg conflates Kant’s conception of judgments of free beauty (pulchritudo vaga) with merely adherent beauty (pulchritudo adhaerens). In formulating a rejoinder to Greenberg and the misplacement of Greenberg as a Kantian, and following Diarmuid Costello, I hope to save a path for a Kantian aesthetics of the present, much in the spirit of other broadly Kantian art historians and philosophers of art/aesthetics (e.g., Thierry de Duve, Paul Guyer, Ido Geiger, etc.). (shrink)

In all the arts a war is being waged between modernists and postmodernists. Radicals have tended to side with the modernists against the forces of conservatism. Postmodern Culture is a break with this tendency. Its contributors propose a postmodernism of resistance - an aesthetic that rejects hierarchy and celebrates diversity. Ranging from architecture, sculpture and painting to music, photography and film, this collection is now recognised as a seminal text on the postmodernism debate.The essays are by Hal Foster, Jürgen Habermas, (...) Kenneth Frampton, Rosalind Krauss, Douglas Crimp, Craig Owens, Gregory L. Ulmer, Fredric Jameson, Jean Baudrillard, and Edward W. Said. (shrink)

Aestheticians in the tradition of Critical Theory have claimed that the or a purpose of musical interpretation is somehow to save or salvage or rescue ("retten") the musical work. What sense, if any, can be made of this claim? The notion of salvage or rescue presupposes the concept of danger. Threats to works of art emerge from two sources: from outside and from inside. Whilst the former problem is only touched upon, the latter is discussed in some detail, using the (...) example of Brahms' Alto Rhapsody op. 53. Kathleen Ferrier's and Clemens Krauss' interpretation of 1947 deals with rather than ignores the composer's crumbly attempt at fusing art and religion. Salvage as their attitude vis-a-vis the work is distinguished from cover-up on the one hand and exposure on the other hand. (shrink)

For the past thirty years, Hal Foster has pushed the boundaries of cultural criticism, establishing a vantage point from which the seemingly disparate agendas of artists, patrons, and critics have a telling coherence. In The Anti-Aesthetic, preeminent critics such as Jean Baudrillard, Rosalind Krauss, Fredric Jameson, and Edward Said consider the full range of postmodern cultural production, from the writing of John Cage, to Cindy Sherman's film stills, to Barbara Kruger's collages. With a redesigned cover and a new afterword (...) that situates the book in relation to contemporary criticism, The Anti-Aesthetic provides a strong introduction for newcomers and a point of reference for those already engaged in discussions of postmodern art, culture, and criticism. Includes a new afterword by Hal Foster and 12 black and white photographs. (shrink)

Tow Philosophical book in one. written in Persian(Farsi) language. this book is describing the faces of Metaphysics like Idealism with all branches like Religions, Rationalism, Platoon, Rene Descartes and all other philosophers in group of Rationalism like Alexander Koere, Kant, Socrates, Kierkegaard, Wilhelm Leibniz etc... and their philosophy systems. Writer strongly believe that, the Metaphysics in different ways act against Humanity and all existence, so this book is telling the reader what is Metaphysics and why it's updating itself every minutes (...) against Human in whole of lands and even why it is against Existence? Descartes, Alexander Koyré and Wilhelm Leibniz are just 3 Philosophers in Rationalism group. But it's clear why Alexanders book is translated to Persian with more than 3000 copies in first edition in Iran! and in the same time the religious leader of Iran ordering to take the Philosophy out of Universities! This book can not be publish in Iran as the complete text is describing how and why freedom in Iran has no meaning and thinkers are being executing and terrorizing every day by hand of Metaphysics in this country. in this book we have complete reasons of Idealism with whole of its parts and Religions about existing of God and also philosophical reasons for non existence of God or Gods! possibility of the second Big Bang is one new theory and also another new theory in this book is reasons for that Mind is Material and why whole of Universe is Material and opposite of understanding of Lawrence M. Krauss, Universe came from something ( Material) not Nothing! and this is the exact subject of Sartre Philosopher too. (shrink)

Rudolf Arnheim’s theory of perception has been used to challenge the highly influential account of synthetic Cubism as a sign-like process of Rosalind Krauss and Yve-Alain Bois. While the use of Arnheim’s idea of perceptual substitution works in a theoretical sense, it is less successful as a historical argument, because unlike Picasso’s art dealer, Daniel-Henry Kahnweiler, who is discussed by Bois, Arnheim’s ideas weren’t formulated until the 1950s. This article enriches the theoretical argument made on behalf of Arnheim by (...) supplying the theory of Gustaf Britsch as a historical link that fed Arnheim’s later rigorous theory. Britsch articulated an early theory of perceptual substitution, a kind of Gestalt-perception, that is capable of accounting for the innovations of Synthetic Cubism. (shrink)

Traditional definitions of lying require that a speaker believe that what she asserts is false. Sam Fox Krauss seeks to jettison the traditional belief requirement in favour of a necessary condition given in a credence-accuracy framework, on which the liar expects to impose the risk of increased inaccuracy on the hearer. He argues that this necessary condition importantly captures nearby cases as lies which the traditional view neglects. I argue, however, that Krauss's own account suffers from an identical (...) drawback of being unable to explain nearby cases; and even worse, that account fails to distinguish cases of telling lies from cases of telling the truth. (shrink)

Are science and religion compatible when it comes to understanding cosmology (the origin of the universe), biology (the origin of life and of the human species), ethics, and the human mind (minds, brains, souls, and free will)? Do science and religion occupy non-overlapping magisteria? Is Intelligent Design a scientific theory? How do the various faith traditions view the relationship between science and religion? What, if any, are the limits of scientific explanation? What are the most important open questions, problems, or (...) challenges confronting the relationship between science and religion, and what are the prospects for progress? These and other questions are explored in Science and Religion: 5 Questions--a collection of thirty-three interviews based on 5 questions presented to some of the world's most influential and prominent philosophers, scientists, theologians, apologists, and atheists. Contributions by Simon Blackburn, Susan Blackmore, Sean Carroll, William Lane Craig, William Dembski, Daniel C. Dennett, George F.R. Ellis, Owen Flanagan, Owen Gingerich, Rebecca Newberger Goldstein, John F. Haught, Muzaffar Iqbal, Lawrence Krauss, Colin McGinn, Alister McGrath, Mary Midgley, Seyyed Hossein Nasr, Timothy O'Connor, Massimo Pigliucci, John Polkinghorne, James Randi, Alex Rosenberg, Michael Ruse, Robert John Russell, John Searle, Michael Shermer, Victor J. Stenger, Robert Thurman, Michael Tooley, Charles Townes, Peter van Inwagen, Keith Ward, Rabbi David Wolpe. (shrink)

La ideación artística y arquitectónica está en gran medida configurada a partir de un concepto o metáfora que rige los diseños como síntesis de nuestro pensamiento y que, posteriormente, se ve confrontada con el lugar, creando con ello una cierta tensión entre paisaje e intervención proyectual. Este artículo explora el concepto de «corte» de Sverre Fehn, tomado como elemento simbólico de resistencia ligado al tiempo, al lugar y a la memoria, como idea generatriz, basada en analogías conceptuales que el artista (...) aplicaba en sus proyectos. Así, un simple gesto, una grieta, una hendidura o incluso un vacío en el terreno, es tomado como memoria pues, de algún modo, configura la idea del lugar que recorremos con la mirada y remite al testimonio de otro tiempo mientras lo experimentamos en diálogo permanente con el paisaje en el que se inscribe. Se crea así una relación intensa entre luz, espacio, materia y memoria con el horizonte paisajístico, como límite de la obra. Este artículo realiza un recorrido por diferentes obras artísticas, arquitectónicas e incluso patrimoniales. Su denominador común es el concepto «corte», un elemento de permanencia que facilita una lectura integradora desde el proyecto, en un intento por cruzar e, incluso, vincular el lenguaje empleado entre las disciplinas para diluir las fronteras, traspasar los límites, recobrar la memoria y establecer, como diría Rosalind Krauss, un nuevo «territorio expandido». (shrink)