Gennaro Chtjerchia, Dynamics of meaning: anaphora, presupposition, and the the of grammar. Chicago and London: The University of Chicago Press, 1995.xv+ 270 pp, £59.95, £31.95 G. Pr...

The greatest intensity of “live” life is captured from as close as possible in order to be borne as far as possible away. Jacques Derrida. Echographies of Television . Rainer Ganahl has made a study of studying. As part of his extensive autobiographical art practice, he documents and presents many of the ambitious educational activities he undertakes. For example, he has been videotaping hundreds of hours of solitary study that show him struggling to learn Chinese, Arabic and a host (...) of other languages. The stacked boxes of tapes are then presented like minimalist monoliths, dense archives of effort. About fifteen years ago, Ganahl began photographing the lectures that he attends. At the time, he hadn’t seen anyone else doing it, so besides his spare selection of images of the speaker and the audience, much of the time the lectures would just pass into memory, undocumented, or recorded in writing alone. Since then, he has felt the transition to digital cause a significant shift in his process. At the same time, he has seen the habit become ubiquitous as others photograph, record, and videotape the lectures all around him. In keeping with the theme of this inaugural issue of continent. , can we propose each small grouping of photographs that result an isthmus stretching between two disparate bodies of mind? The first being the body of the lecture as spelled out in the title of each work – the experience of the event in all its constituent parts. The second is the body of the recipient, the listener, in this case an artist, who plays a minimal role just beyond the prescripted behavior of sitting and listening. He uses a gesture of documentation to draw a line between himself and the event, creating an artwork. Františka + Tim Gilman: As we mentioned before, the theme of the magazine for this issue is "isthmus." It seems like a very good way into your work, and it leads us to ask what connection you see between your photographs of the lecture and the lecture itself? Rainer Ganahl: The relationship is of course a concrete, pictorial one, or if you want a mimetic one but also an abstract one because the photographs carry the title of the lecture, the names of the lecturers, the site, the institution and the time of the lecture. Photos are fixed moments of time and can reproduce images displayed and reproduce visuals presented at a moment but they don’t come with time based recordings that video or sound takes are offering. What remains of a lecture is usually just the memory, some notes and all the announcements of it. In my case I end up with a visual product I declare as my artwork. It might not differ from any snapshot taken by any other student or member of the audience but I do this in a semi-systematic way with certain rules and procedures I have set up. While I am at a lecture I am mainly focusing on the lecture itself. Last night I went to one of Slavoj Žižek which demanded quite some concentration. I even was asking him a question at the end. I took photos as well but still didn’t lose track of the lecture. I didn’t walk around, I was not preoccupied by where I was sitting and what light I was having like some of the other photographing and filming people in the room who came and left, moved around and tried to capture him from this and that angle, from close and far. I just sat there and concentrated on the lecture and yet managed to take about 30 or so images of him, the public around me and of the film clips he presented. Once the lecture is over the story changes: it all becomes a question of the images, their selection, their visual qualities, their labeling and archiving. The function of the images also change: not only do they stand for an intellectual event in a row of lectures that become part of my intellectual history within many possible such histories but they also have to function as art, something not everybody else with images of lecturers demands of their images. This is my specific claim as an artist to impose them as artworks. And as with all artistic propositions the offer can be accepted or rejected. I basically spend my life trying to do exactly that: making what I declare as art, offering something to anybody interested in it as my art, an offer that is not and will never be accepted as such by all people. F+T: What are your criteria for selection, i.e. how do you choose which lectures to photograph, by lecturer, by topic, or do you photograph any and every lecture you can? RG: As everything in my life, I go by my interest which is the result of many factors. If I am aware of a lecturer, read his books or appreciate his works my interest of attending his much higher than if I am not aware of it. I usually don’t go to lecturers simply based on their subjects—something that can happen of course, if the subject, the title of the lecture is promising or at the heart of my interest. Sometimes I also wait for years to get a change to photograph certain people but I do that in a very low-level “keep your ears up” mentality and not in a systematic scanning of all channels and possibilities. I do not go into philosophy departments and photograph everybody teaching there. I go with the flow—and unfortunately a great deal of great talks I also miss because I hear too late of them. Often, I also stumble into them by traveling, by getting emails from friends and by simply being in the right spot at the right time. Somehow you could look at my lecture par cours as some kind of loose intellectual flâneurism . If you know of interesting lectures and events, please, let me know. F+T: Is your selection of images more of a production or post-production method? That is, do you take a lot of photos and select only a few images from each lecture, or do you take them very selectively? Do you have a particular methodology for the selection of images? RG: This all changed a bit with the arrival of digital photography. In the beginning I had to pay a lot of money for film developing. Hence, I was taking either one role - 36 images - or half a role - 13 images - depending on who talked and whether they projected images. With the unlimited capacity of digital imaging I easily end up between 30 and 150 images of one event still depending of whether images are presented or not. In the first years of that project when I wasn’t fully aware yet of what I was doing, I printed at least 2 images of any lecture and sometimes three or even four, a choice that was also constrained by costs. But again, since I have a web site and since images can easily be selected and presented on my web site without generating remarkable costs I have now more and more pain to reduce them to less than ten or eight images for an event. Now, before I have them printed which really is expensive, I can present them already as artwork on my web site without any immediate costs. Thus the economic factor is at the end of the chain which enables me to be more ‘generous’ and include more images. Over the last years I have been mostly selecting at least four photographs for a lecture unit but recently also as many as ten. But so far only one set above four images has been actually printed and sold. What might sound even more shocking is the likely fact that if a curator or a collector demands me to reduce the number of images due to costs, I might compromise at this current stage if the images have not been yet printed or published outside my own web site. This means that to a certain degree any selection that has only seen publication on my web site and not yet been produced runs the risk to change in numbers of images included. Needless to say, I am the last one that finally makes a decision and I do honor all given earlier decision if those were final. F+T: How do you feel the act of photographing the lecture affects your reception of the contents of the lecture? And your recollection afterwards, do you remember the lecture more having photographed it, or just having sat and listened? RG: As mentioned above, I get very little distraction from photographing since I can multitask well and do not obsess about the quality of the image: I photograph from where I am and listen with my ears and not my eyes. I am not sure whether the images serve as a mnemonic devise to the content of the lecture if there are no images involved but they at least remind me that the lecture existed, the title of the lecture and the name of the people and institutions involved. The titles of the hundreds of lectures I took during the past 15 years can also be read as an essay of theoretical life in that period. This will be come more and more visible as time passes by. These images age much better than I do. F+T: You mentioned at the outset of our discussions that you started this practice some time ago and have seen the practice of photographing lecturers become more commonplace. Why do you think that this shift has taken place? RG: The answer is very simple. Photographing is now free of any charge and hence omnipresent. You buy a phone or any other personal digital assistant and it has a camera integrated in it whether you want it or not. There is no need to develop images and there is no hassle to keep images, to distribute images, to organize images and save them. It is all virtual, not creating any costs and doesn’t require any efforts. You don’t spend twenty dollars for photo-developing anymore, you don’t need to walk anymore to your pharmacy or your photo shop to drop off and return to pick up and pay. You don’t need to go to the post office to send somebody a picture. You have a program like Photoshop already built into your camera. Photographing is now a thing for everybody—with functioning cameras made for two year olds. It is technically now nearly impossible to make bad images. The image quality is virtually guaranteed by cheap, high performing, mini-computers packed into miniscule cameras. With all these technological changes, we are undergoing now a cultural paradigm shift that includes permanent recording (not only still image taking) of everything. I wonder even whether babies are just born to be photographed—at least a process where the first photograph is right there. What is interesting now, is how the law is trying to catch up. I am experiencing and expecting more restrictions on photographing and recording—something already in place in many museums and in certain galleries—as the recording devices become more and more invisible and undetectable. It is an interesting cat and mouse play and will end up with some of us that are photographing the world around us in court. The world has become very transparent and everybody is contributing to it with social networking technologies—like twitter and Facebook—that are designed to monitor and communicate every step we make in our lives. F+T: Why did you start the practice? As a way to remember, or to capture the experience of the lecture and the environment there? RG: A couple of years earlier I started to photograph my own reading seminars as part of my art work with results that surprised me positively. I really liked these images of students and people discussing heavy non-fiction with me. The reading seminars justified this kind of pictorialism. Then in 1995 I had the chance to attend an entire seminar by Edward Said entitled “The Representation of Intellectuals at Columbia University,” which really gave me the idea to start this series. Why not also photograph these lectures I visit all the time since this really is a way of representing intellectuals? F+T: The constellation of images and the title seem like a kind of portrait, do you agree? If so, is it a portrait of the speaker, of yourself, or of the event? RG: Well, to follow up on the previous question the lectures are more than just portraits of lecturers since I include not only the speakers but also the audience, an audience that is not named or specifically highlighted as is the speaker. So if we stick with the metaphor of the portrait we would have to extend it also to the environment, the class room, the lecture hall, the arrangements of seats or benches, tables, lecture stands and other stuff typically seen on my images. Often the walls are decorated or even tagged with graffiti or posters and other stuff. There is a big difference between a small seminar room at the English Department of Columbia University, full with books and cabinets and a lecture room at a Paris or Frankfurt university that accommodates 50 to 150 people. We should, maybe, also distinguish between lectures that are one time events—mostly open to the public, free of charge or paid—and events that are weekly, closed to the public and held mostly in universities that can cost fortunes or be paid by the State as it is still predominantly the case in continental Europe. All this, of course, is not necessarily announced in the title of the lecture and is subject to information that isn’t visible on the images. To a certain degree we see also portraits of a general privilege when it comes to the public of certain institutions that are highly selective and extremely costly without forgetting that most of the lectures are dealing with theory, art, philosophy and other highbrow subjects. In general, I would say we see very little if we don’t know already what’s going on, who the lecturer, the institutions, the context are in which we subsequently can zoom into variants like sexual, racial, or age-related make-up without ignoring clothing fashions, hair styling, body mannerisms, gadgets and stuff. F+T: Do you see a relation between this body of work and your other work, for example your language studies? RG: Everything I do is “unfortunately” related. I say unfortunately because this makes my work not so easy to grasp. The relationship to the language studies is relatively clear since both are originally grounded in the domain of education and knowledge production. Nearly all my work comes across that nexus where knowledge and power are addressed. I was at one point wondering what the relationship was to some of my earlier indexical work where I was happy alone with footnotes from books painted on the walls: I came to understand that both are just different manifestations of knowledge and information. F+T: Do you foresee continuing the series indefinitely, or is there an end to it? RG: I think that I will continue this series indefinitely or to be more precise, as long as I go listen to lectures and want to learn something which brings me to your previous question: What do the reading seminars, language studies, historical research and lecture hopping have in common: I learn something. Further Reading Rainer Ganahl’s website William Kaizen. “ Vulgar Politics .” art&education . April 2009. Web. Smith, Roberta. “ Rainer Ganahl: ‘Language of Emigration & Pictures of Emigration .’” New York Times April 23 2010. Web. (shrink)

In der 1970 gegründeten Reihe erscheinen Arbeiten, die philosophiehistorische Studien mit einem systematischen Ansatz oder systematische Studien mit philosophiehistorischen Rekonstruktionen verbinden. Neben deutschsprachigen werden auch englischsprachige Monographien veröffentlicht. Gründungsherausgeber sind: Erhard Scheibe (Herausgeber bis 1991), Günther Patzig (bis 1999) und Wolfgang Wieland (bis 2003). Von 1990 bis 2007 wurde die Reihe von Jürgen Mittelstraß mitherausgegeben.

Einleitung 1. KULTURPOLITISCHE IMPULSE IN RESTAURATIVER ZEIT. Hermann Lübbe. Deutscher Idealismus als Philosophie Preußischer Kulturpolitik - Walter Jaeschke. Politik, Kultur und Philosophie in Preußen - Kurt Rainer Meist. Zur Rolle der Geschichte in Hegels System der Philosophie - Karlheinz Stierle. Zwei Hauptstädte des Wissens; Paris und Berlin 2. KUNSTTHEORIE UND ÄSTHETIK IN BERLIN. Beat Wyss. Klassizismus und Geschichtsphilosophie im Konflikt. Aloys Hirt und Hegel - Gunter Scholtz. Schleiermachers Theorie der modernen Kultur mit vergleichendem Blick auf Hegel - Frank (...) Jolles. August Wilhelm Schlegel und Berlin: Sein Weg von den Berliner Vorlesungen von 1801-04 zu denen vom Jahre 1827 - Frithjof Rodi. Die Romantiker in der Sicht Hegels, Hayms und Diltheys - Wolfhart Henckmann. Solger und die Berliner Kunstszene - Annemarie Gethmann-Siefert. H. G. Hotho: Kunst als Bildungserlebnis und Kunsthistorie in systematischer Absicht, oder die entpolitisierte Version der ästhetischen Erziehung des Menschen - Gregor Stemmrich. C. Schnaase; Rezeption und Transformation Berlinischen Geistes in der kunsthistorischen Forschung 3. AKTUALITÄT DES LITERARISCHEN UND KÜNSTLERISCHEN ERBES - Hellmut Flashar. Die Entdeckung der griechischen Tragödie für die Deutsche Bühne - Siegfried Grosse. Die Rezeption des Nibelungenliedes im 19. Jahrhundert - Carl Dahlhaus. Hegel und die Musik seiner Zeit - Otto Pöggeler. Der Philosoph und der Maler. Hegel und Christian Xeller - Barbara Stemmrich-Köhler. Die Rezeption von Goethes West-östlichem Divan im Umkreis Hegels. (shrink)

Christine Buci-Glucksmann’s The Madness of Vision is one of the most influential studies in phenomenological aesthetics of the baroque. Integrating the work of Merleau-Ponty with Lacanian psychoanalysis, Renaissance studies in optics, and twentieth-century mathematics, the author asserts the materiality of the body and world in her aesthetic theory. All vision is embodied vision, with the body and the emotions continually at play on the visual field. Thus vision, once considered a clear, uniform, and totalizing way of understanding the material world, (...) actually dazzles and distorts the perception of reality. In each of the nine essays that form The Madness of Vision Buci-Glucksmann develops her theoretical argument via a study of a major painting, sculpture, or influential visual image—Arabic script, Bettini’s “The Eye of Cardinal Colonna,” Bernini’s Saint Teresa and his 1661 fireworks display to celebrate the birth of the French dauphin, Caravaggio’s Judith Beheading Holofernes, the Paris arcades, and Arnulf Rainer’s selfportrait, among others—and deftly crosses historical, national, and artistic boundaries to address Gracián’s El Criticón; Monteverdi’s opera Orfeo; the poetry of Hafiz, John Donne, and Baudelaire; as well as baroque architecture and Anselm Kiefer’s Holocaust paintings. In doing so, Buci-Glucksmann makes the case for the pervasive influence of the baroque throughout history and the continuing importance of the baroque in contemporary arts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 35.1 (2005) 3-6MuseSearchJournalsThis JournalContents[Access article in PDF]Whispers of the Flesh Essays in Memory of Pierre KlossowskiIan JamesRussell Ford Pierre Klossowski—novelist, essayist, painter, and translator—was one of the most startling, original, and influential figures in twentieth-century French intellectual culture. The older brother of the well-known painter Balthus and a close associate of Georges Bataille, Klossowski's diverse oeuvre includes novels, philosophical essays, and translations, as well as paintings and films. (...) Confined thus far to an undeserved but somehow fitting shadow existence in the margins and notes of theorists who have become mainstays of Anglo-American criticism, Klossowski's own work has increasingly become a focus of critical interest for its decisive contribution to the development of thought and aesthetics in France from the 1950s onward. Born in 1905, the eldest son of Polish émigrés, Klossowski spent his first ten years in Paris in an artistic milieu, heavily influenced by the neoimpressionism of figures such as Bonnard and Derain. His father, Erich Klossowski de Rola, was a painter and art historian, the author of an important monograph on Daumier. His mother, Baladine, was also a painter and trained under Bonnard. While still a teenager Klossowski was introduced to the German poet Rainer Maria Rilke, with whom he became close and who in turn introduced him to the novelist André Gide. At eighteen he became Gide's secretary and assisted him with the drafts of his famous novel Les faux-monnayeurs.Not until 1930, however, did Klossowski's own career properly begin, when he translated with Jean-Pierre Jouve a collection of poems by Friedrich Hölderlin. Throughout his life Klossowski was a prolific and influential translator from both German and Latin into French, translating amongst others Nietzsche, Kafka, Heidegger, and Wittgenstein from the German, and Suetonius, Virgil, Augustine, and Tertullian from the Latin. While working for the prominent Parisian psychoanalyst René Laforgue, Klossowski published his first philosophical essay on the Marquis de Sade in 1933 in the Revue française de la psychanalyse. Scandalized by Klossowski's Nietzschean-inflected psychoanalytic interpretation of Sade's writing, Laforgue dismissed Klossowski immediately. Throughout the 1930s Klossowski made a number of key friendships and acquaintances, most importantly with Georges Bataille, but also many others, including Walter Benjamin, André Masson, Jean Wahl, and Maurice Heine. During this period he published several articles and collaborated with Bataille on the review Acéphale and in the avant-garde experiment of the Collège de Sociologie (where, it is said, he would attend meetings dressed in a soutane). During the war years Klossowski trained in a number of Catholic seminaries, a vocation which ultimately failed and led to the writing of his first novel, La vocation suspendue. In the postwar period he married [End Page 3] a war widow, Denise Morin Sinclair, who had been interned in Ravensbrück for her activities in the Resistance and who became the model for Roberte, a key figure in much of Klossowski's fiction and painting. After the war Klossowski began to publish the influential works for which he will chiefly be remembered: literary-philosophical essays on Sade and Nietzsche (among others), as well as six important novels written between 1950 and 1965, La vocation suspendue (1950), the three works, originally published separately, which went on to form the Lois de l'hospitalité trilogy—Roberte ce soir (1954), La révocation de l'Édit de Nantes (1959) and Le souffleur ou le théâtre de société (1960)‚—and, finally, Le Baphomet (1965).Klossowski's seminal 1947 work, Sade mon prochain, was one of the first full-length literary and philosophical studies of Sade's work to be published in France and marked a decisive break from earlier accounts. Whereas earlier treatments of Sade had focused either on biographical detail or on the medical and psychosexual import of his life and writing, Klossowski's reading was concerned with the intertwined figures of law and transgression in Sade's work. After Sade mon prochain French intellectuals and writers... (shrink)

Christine Buci-Glucksmann’s__ _The Madness of Vision_ is one of the most influential studies in phenomenological aesthetics of the baroque. Integrating the work of Merleau-Ponty with Lacanian psychoanalysis, Renaissance studies in optics, and twentieth-century mathematics, the author asserts the materiality of the body and world in her aesthetic theory. All vision is embodied vision, with the body and the emotions continually at play on the visual field. Thus vision, once considered a clear, uniform, and totalizing way of understanding the material world, (...) actually dazzles and distorts the perception of reality. In each of the nine essays that form _The Madness of Vision_ Buci-Glucksmann develops her theoretical argument via a study of a major painting, sculpture, or influential visual image—Arabic script, Bettini’s “The Eye of Cardinal Colonna,” Bernini’s _Saint Teresa_ and his 1661 fireworks display to celebrate the birth of the French dauphin, Caravaggio’s _Judith Beheading Holofernes,_ the Paris arcades, and Arnulf Rainer’s selfportrait, among others—and deftly crosses historical, national, and artistic boundaries to address Gracián’s_ El Criticón_; Monteverdi’s opera _Orfeo; _the poetry of Hafiz, John Donne, and Baudelaire; as well as baroque architecture and Anselm Kiefer’s Holocaust paintings. In doing so, Buci-Glucksmann makes the case for the pervasive influence of the baroque throughout history and the continuing importance of the baroque in contemporary arts. (shrink)

Christine Buci-Glucksmann’s__ _The Madness of Vision_ is one of the most influential studies in phenomenological aesthetics of the baroque. Integrating the work of Merleau-Ponty with Lacanian psychoanalysis, Renaissance studies in optics, and twentieth-century mathematics, the author asserts the materiality of the body and world in her aesthetic theory. All vision is embodied vision, with the body and the emotions continually at play on the visual field. Thus vision, once considered a clear, uniform, and totalizing way of understanding the material world, (...) actually dazzles and distorts the perception of reality. In each of the nine essays that form _The Madness of Vision_ Buci-Glucksmann develops her theoretical argument via a study of a major painting, sculpture, or influential visual image—Arabic script, Bettini’s “The Eye of Cardinal Colonna,” Bernini’s _Saint Teresa_ and his 1661 fireworks display to celebrate the birth of the French dauphin, Caravaggio’s _Judith Beheading Holofernes,_ the Paris arcades, and Arnulf Rainer’s selfportrait, among others—and deftly crosses historical, national, and artistic boundaries to address Gracián’s_ El Criticón_; Monteverdi’s opera _Orfeo; _the poetry of Hafiz, John Donne, and Baudelaire; as well as baroque architecture and Anselm Kiefer’s Holocaust paintings. In doing so, Buci-Glucksmann makes the case for the pervasive influence of the baroque throughout history and the continuing importance of the baroque in contemporary arts. (shrink)

After a remark on the logic of meaning variance, part I explicates the chapter’s heading concepts. As a human faculty, reason is distinguished from rationality, being a quality of human products. The systematical role of reason is historically described from classical antiquity until modern times. Globality of reason in the sense of its being universal is emphasized. Subjectively in distinction from objectively rational human actions are explained. Part II shows, how functions and tasks of reason as well as the moments (...) of rationality underlie the global turn. Especially the concepts of practical reason, e.g., justice, change under empirically altering conditions. The goal of reason’s activity is to design globally valid theories. As a consequence hereof, part III claims to qualify received concepts and theses of reason by their local conditions. (shrink)

Interview of Katrin Flikschuh, Rainer Forst and Darrel Moellendorf by Valentin Beck and Julian Culp for Global Justice: Theory Practice Rhetoric.

Arnopoulos explains the thoughts and practices of the ancient Greeks with regard to external affairs, or exopolitics, integrating political philosophy with modern international theory. He examines the political ideas of Plato and Aristotle specifically, and evaluates the ancient Greek policy ideals regarding constitutionalism, statesmanship, and foreign policy. In many ways, Arnopoulos would say this is a study not of what people do, but rather how they justify their deeds. He has been writing on the subject for about 30 years, and (...) this monograph is a consolidation of his thinking. His current academic affiliation is not noted. (shrink)

After briefly considering Plato’s objections to rhetoric—it disregards the truth, aiming only to persuade, and it manipulates our emotions rather than instructing us—I turn to the historical Gorgias. The ‘Encomium of Helen’ ascribes to logos virtually all-powerful capacities for persuasion, seduction, and even bewitchment. Here Gorgias celebrates the very things Plato rejects. Yet in the ‘Defense of Palamedes’ considerable anxieties about whether logos actually does possess such strength are voiced: the weakness, not the power, of logos comes to occupy center (...) stage. Gorgias’ own views thus are likely more complex than Plato allows. (shrink)

The dissertation has two parts. In Part I, I argue that the method of question and answer, that is, dialectic, had its origins not, as Plato and Aristotle might lead us to expect, with Zeno or Socrates, but with the Sophists of the fifth century. They were at the vanguard of a new rationalism that made matters which tradition had regarded as settled, subjects for debate and inquiry. They were committed to a self-consciously rationalistic conception of the arts that held (...) that expertise is a matter of rationally grounded knowledge and hence teachable. ;Of particular importance, especially in democracies, and central to their educational program was the art of rhetoric, that is, the art of rational deliberation and argumentation. It is as part of the instruction in this art that dialectic first emerges. Dialectic is a method subject to specific rules , it provides for at least two roles , and provides criteria for judging who has won a question-and-answer exchange. ;In Part II, I examine Plato's Protagoras. I focus on two sorts of passages: those where the participants seem to be engaged in such a question-and-answer exchange, and those where they comment on what they are doing. Examination of the text leads to the conclusion that both Socrates and Protagoras proceed as if this method of argumentation were antecedently familiar, and Socrates and Protagoras both ask and answer questions in accord with its rules. Thus the difference between Socrates and the Sophists cannot consist in their relying on essentially different methods of argumentation . ;I end by suggesting that if there is a difference between Socrates and the Sophists, it consists in Socrates making explicit what the Sophists had been relying on, though only imperfectly: a commitment to the avoidance of contradictions. (shrink)

Over the past 15 years, Rainer Forst has developed a fundamental research programme within the tradition of Frankfurt School Critical Theory. The core of this programme is a moral account of the basic right of justification that humans owe to one another as rational beings. This account is put to work by Forst in articulating - both historically and philosophically - the contexts and form of justice and of toleration. The result is a powerful theoretical framework within which to (...) address issues such as transnational justice and multicultural toleration. In this volume, Forst sets out his ideas in an extended essay, which is responded to be influential interlocutors including: Andrea Sangiovanni, Amy Allen, Kevin Olson, Anthony Laden, Eva Erman and Simon Caney. The volume concludes with Forst's response to his interlocutors. (shrink)

Introduction: the foundation of justice -- Practical reason and justifying reasons: on the foundation of morality -- Moral autonomy and the autonomy of morality : toward a theory of normativity after Kant -- Ethics and morality -- The justification of justice: Rawls's political liberalism and Habermas's discourse theory in dialogue -- Political liberty: integrating five conceptions of autonomy -- A critical theory of multicultural toleration -- The rule of reasons: three models of deliberative democracy -- Social justice, justification, and power (...) -- The basic right to justification: toward a constructivist conception of human rights -- Constructions of transnational justice: comparing John Rawls's the law of peoples and Otfried Höffe's democracy in an age of globalisation -- Justice, morality, and power in the global context -- Toward a critical theory of transnational justice. (shrink)

Colour has long been a source of fascination to both scientists and philosophers. In one sense, colours are in the mind of the beholder, in another sense they belong to the external world. Colours appear to lie on the boundary where we have divided the world into 'objective' and 'subjective' events. They represent, more than any other attribute of our visual experience, a place where both physical and mental properties are interwoven in an intimate and enigmatic way. -/- The last (...) few decades have brought fascinating changes in the way that we think about 'colour' and the role 'colour' plays in our perceptual architecture. In Colour Perception: Mind and the physical world, leading scholars from cognitive psychology, philosophy, neurophysiology, and computational vision provide an overview of the contemporary developments in our understanding of colours and of the relationship between the 'mental' and the 'physical'. With each chapter followed by critical commentaries, the volume presents a lively and accessible picture of the intellectual traditions which have shaped research into colour perception. -/- Written in a non-technical style and accessible to an interdisciplinary audience, the book will provide an invaluable resource for researchers in colour perception and the cognitive sciences. (shrink)

This paper develops a formal framework to model a process in which the formation of individual opinions is embedded in a deliberative exchange with others. The paper opts for a low-resolution modeling approach and abstracts away from most of the details of the social-epistemic process. Taking a bird's eye view allows us to analyze the chances for the truth to be found and broadly accepted under conditions of cognitive division of labour combined with a social exchange process. Cognitive division of (...) labour means that only some individuals are active truth seekers, possibly with different capacities. Both mathematical tools and computer simulations are used to investigate the model. As an analytical result, the Funnel Theorem states that under rather weak conditions on the social process, a consensus on the truth will be reached if all individuals possess an arbitrarily small capacity to go for the truth. The Leading the pack Theorem states that under certain conditions even a single truth seeker may lead all individuals to the truth. Systematic simulations analyze how close agents can get to the truth depending upon the frequency of truth seekers, their capacities as truth seekers, the position of the truth (more to the extreme or more in the centre of an opinion space), and the willingness to take into account the opinions of others when exchanging and updating opinions. (shrink)

Von stoischem Verhalten spricht man, wenn ein Mensch sich nicht durch seine Lebensumstände oder durch Schicksalsschläge aus dem Gleichgewicht bringen lässt. Die Philosophenschule der Stoa wurde von Zenon etwa um das Jahr 310 in Athen gegründet. Die ethische Hauptforderung heißt: in Übereinstimmung mit der menschlichen Natur zu leben. Dabei ist für den Stoiker nur die Tugend ein Gut und nur die Schlechtigkeit ein echtes Übel. Alles andere, z. B. der Besitz materieller, äußerer Dinge oder der Verlust geliebter Menschen, sind für (...) einen Weisen kein Grund, vom steten Weg zu Ausgeglichenheit und Glückseligkeit abzuweichen. Nach annähernd sechzig Jahren gibt es endlich wieder eine neue große Stoiker-Ausgabe. Das zweibändige Werk, übersetzt und kommentiert von Rainer Nickel, ist nicht nur für Philosophen ein echtes Desiderat. Über Seneca oder Marc Aurel wirken die Gedanken dieser Philosophenschule bis in unsere Tage. Überraschend aktuell und modern wirken beispielsweise die Ratschläge, in allem das rechte Maß zu wahren oder in Übereinstimmung mit der Natur zu leben - ein philosophischer Weg zur seelischen Gesundheit. Im Mittelpunkt stehen die Begründer der Stoa, Zenon, Kleanthes, Persaios, Sphairos, Dionysios von Herakleia, Ariston, Herillos, Chrysippos sowie Panaitios und Poseidonios. Gewirkt habe sie in der Zeit zwischen dem 4. und dem 1. Jahrhundert v. Chr. Wichtige Vermittler stoischen Gedankengutes waren Cicero, Seneca und Marc Aurel. (shrink)

Three main versions of cognition-arousal theory are distinguished depending on how they interpret the theory’s basic postulate, that an emotion is a function of cognition and arousal: objectivist causal theories, attributional theories, and fusion theories. The objectivist causal and attributional theories each comprise a causal-functional and a part-whole version, and the fusion theory subsumes in particular a categorization and a perceptual integration version. In addition, the attributional version of cognition-arousal theory can be reinterpreted as a theory of emotion self-ascription. Although (...) arousal may in fact not be necessary for emotions, a modified cognition-feeling theory that replaces arousal with intrinsically affective feelings, seems still viable. Arguments are presented why the objectivist causal-functional version of this theory should be preferred. (shrink)

Je weiter die Verwissenschaftlichung unserer Lebenswelt fortschreitet, desto dringender stellt sich die Frage nach dem Status und dem sinnvollen Umgang mit Wissenschaft. Buchstaben-Folgen rekonstruiert das Projekt abendländischer Wissenschaft vor dem Hintergrund der Differenz von Mündlichkeit und Schriftlichkeit. Die Reflexion auf das komplizierte Verhältnis zwischen gesprochener Sprache und Schrift sowie auf die entsprechenden - medial unterschiedlichen - Darstellungsformen von Wissen ermöglicht ein angemesseneres Verständnis der ambivalenten Rolle von Wissenschaft in unserer Kultur. Eine in ihrem Status und ihrer Reichweite mißverstandene Wissenschaft kann (...) leicht zur Ideologie werden. Das Buch führt zwei Debatten zusammen, die bisher noch kaum verknüpft worden sind: die interdisziplinäre Debatte der 80er und 90er Jahre um die kulturellen Auswirkungen von Schrift und Schriftlichkeit einerseits und die von Heidegger wesentlich angestoßene und bis heute anhaltende philosophische Diskussion um Status und Reichweite wissenschaftlicher Weltdarstellungen andererseits. In einer doppelten - medienhistorischen und medien-phänomenologischen - Perspektive erläutert der Autor, welche praktischen Entstehungsbedingungen und welchen Status wissenschaftliche Aussagen als >verdauerte sprachliche Handlungen haben, was bestimmte Mißverständnisse von Wissenschaft sind und wie diese Mißverständnisse gerade durch die schriftliche Form der Wissensdarstellung evoziert werden. Der erste Teil des Buches zeigt im Anschluß an Arbeiten von Jan Assmann, Christian Stetter und anderen, wie die Erfindung und Verbreitung der Alphabetschrift in Griechenland die Ausprägung eines formalen Sprachumgangs, die Entstehung von formaler Logik und logisch-enzyklopädischer Wissenschaft als episteme zugleich ermöglicht und herausgefordert hat. Im zweiten Teil des Buches werden zentrale Texte Heideggers im Kontext schriftphilosophischer Überlegungen neu gedeutet. Heideggers kritische Diagnose, daß die Geburtsstunde der okzidentalen Wissenschaft zugleich die Geburtsstunde der abendländischen Wissenschaftsmetaphysik ist, wird verständlich, wenn man sie mit der unreflektierten konstitutiven Schriftlichkeit des Wissenschaftsprojektes in Zusammenhang bringt. Seinsvergessenheit wird im Kern als Schriftvergessenheit verstehbar. Die Darstellung bewegt sich in einem spannungsreichen Verhältnis zu den schriftphilosophischen Thesen von Jacques Derrida und dessen Projekt einer Grammatologie. Die explizite Auseinandersetzung mit Derridas extrem erweitertem Schriftbegriff und mit dessen Kritik am vermeintlichen Präsentismus Heideggers bilden das abschließende Kapitel von Buchstaben-Folgen. Rainer Totzke, geb. 1966. 1988-1955 Studium der Journalistik und Kulturwissenschaften an der Universität Leipzig; 1995-2000 Promotionskolleg Ambivalenzen der Okzidentali-sierung. (shrink)

Interactive social cognition theory and approaches of developmental psychology widely agree that central aspects of emotional and social experience arise in the unfolding of processes of embodied social interaction. Bi-directional dynamical couplings of bodily displays such as facial expressions, gestures, and vocalizations have repeatedly been described in terms of coordination, synchrony, mimesis, or attunement. In this paper, I propose conceptualizing such dynamics rather as processes of affective resonance. Starting from the immediate phenomenal experience of being immersed in interaction, I develop (...) the philosophical notion of affective resonance to refer to a dynamic entanglement of moving and being-moved in relation. The concept of affective resonance makes visible that the interaction dynamic itself creates an affective experience rather than transmitting internal feeling states between pre-existent individuals. This leads to a philosophical framework in which relationality and ontogeny are primary over separate individuals, and in which the naturalistic distinction of a fundamental physical level versus an emerging level of social processes has to be given up. (shrink)