Darstellung describes the art object in Hegel. Though not a prominent concept, like Ideal, Form, or Gestaltung, Darstellung appears consistently in contexts that emphasize the perception of meaning in art and the actual object of that perception. We see an example of such use in the following passage.

Darstellung describes the art object in Hegel. Though not a prominent concept, like Ideal, Form, or Gestaltung, Darstellung appears consistently in contexts that emphasize the perception of meaning in art and the actual object of that perception. We see an example of such use in the following passage.

Drawing attention to the vexed relationship between feminist theory and philosophy, Is Feminist Philosophy Philosophy? demonstrates the spectrum of significant work being done at this contested boundary. The volume offers clear statements by seventeen distinguished scholars as well as a full range of philosophical approaches; it also presents feminist philosophers in conversation both as feminists and as philosophers, making the book accessible to a wide audience. -/- Table of Contents -/- Opening plenary: Drucilla Cornell, Jacques Derrida, and Teresa Brennan — (...) Discussion / Teresa Brennan ... et al. — Women, identity, and philosophy / Marjorie C. Miller — The personal is philosophical, or teaching a life and living the truth: philosophical pedagogy at the boundaries of self / Ruth Ginzberg — Musing as a feminist and as a philosopher on a postfeminist era / Patricia S. Mann — Essence against identity / Teresa Brennan — Feminist interpretations of social and political thought / Virginia Held — Mothers, citizenship, and independence: a critique of pure family values / Iris Marion Young — Domestic abuse and Locke's liberal (mis)treatment of family / Matthew R. Silliman — Marx, Irigaray, and the politics of reproduction / Alys Eve Weinbaum — The very idea of feminist epistemology / Lynn Hankinson Nelson — Can there be a feminist logic? / Marjorie Hass — Feminism and mental representation: analytic philosophy, cultural studies, and narrow content / David Golumbia — Replies to Hass and Columbia / Nickolas Pappas — Leaping ahead: feminist theory without metaphysics / Leslie A. MacAvoy — Philosophy abandons women: gender, orality, and some literate pre-Socratics / Cornelia A. Tsakiridou. (shrink)

Powerful ultrastructural tools are providing new insights into neuronal circuits, revealing a wealth of anatomically‐defined synaptic connections. These wiring diagrams are incomplete, however, because functional connectivity is actively shaped by neuromodulators that modify neuronal dynamics, excitability, and synaptic function. Studies of defined neural circuits in crustaceans, C. elegans, Drosophila, and the vertebrate retina have revealed the ability of modulators and sensory context to reconfigure information processing by changing the composition and activity of functional circuits. Each ultrastructural connectivity map encodes multiple (...) circuits, some of which are active and some of which are latent at any given time. (shrink)

Dieses Buch schreibt Theorie. Es entwirft am Beispiel von Wilhelm Raabes Erzähltexten zwischen 1856 und 1902 den Grundriss einer ontologischen Narratologie, der über seinen historischen Gegen-stand hinaus systematische Gültigkeit beansprucht. Den Ausgangspunkt bildet die Frage: Was ist Welt?

First published in 2010, Cornelia Vismann’s article has already attained the status of a classic. In a formulation inspired by linguistic theory, the author argues that the relation between cultural techniques and media can be understood in analogy to grammatical operations. Thus, cultural techniques define the agency of media and execute the procedural rules which the latter set in place. Together, they articulate a critique of subjectivity and sovereignty that proceeds by re-examining the notion of ‘culture’ via its agricultural (...) origins to the current moment when the ‘preservation of cultural techniques’ has entered legal and academic discourse. Ultimately, despite their apparent separation from praxis, cultural techniques continue to proliferate through axes of substitution and displacement. (shrink)

This paper explores one organisation’s journey into non-financial reporting, initially motivated by a crisis in public confidence that threatened the organisation’s legitimacy to the present with the organisation embracing integrated reporting. The organisation’s journey is framed through a legitimation lens and is illustrated by aligning internal reflections with external outputs guided by predominant paradigms of good practice, such as the GRI guidelines and more recently integrated reporting 〈IR〉. We find that the organisation’s relationship with external guidelines has evolved from pragmatic (...) adoption as a means of seeking external legitimation to the present position where those that prepare external reports are informed by the organisation’s strategic positioning and not constrained by the promulgation of voluntary guidelines. From the case study, we suggest that the International Integrated Reporting Council may face two hurdles: First, organisations may define social norms based on a broader definition of stakeholders than the definition currently published by the IIRC. The second hurdle is to convince report preparers that adopting integrated reporting 〈IR〉 will positively impact on capital flows. (shrink)

The goal of the article is to offer a framework against which relations between gesture and sign can be systematically explored beyond the current literature. It does so by a) reconstructing the history of the discussion in the field of gesture studies, focusing on three leading positions (Kendon, McNeill, Goldin-Meadow); and b) by formulating a position to illustrate how this can be achieved. The paper concludes by emphasizing the need for systematic cross-linguistic research on multimodal use of language in its (...) signed and spoken forms. (shrink)

While generally accepted as an interpretive theory, Bull’s emblematic text demonstrates strong structural characteristics. Subsequent attributions move between the interpretive or ‘reflexive’ and t...

Learning in intelligent systems is a result of direct or indirect interaction with the environment. Humans can learn by way of different states of (inter-)action such as the execution or the imagery of an action, but their unique potential to induce brain-related as well as mind-related changes in the motor action system is still being debated. The systematic repetition of different states of action (e.g., execution and imagery in terms of physical and mental practice) and their contribution to the learning (...) of complex motor actions has traditionally been approached by way of performance improvements. More recently, approaches highlighting the role of action representation in the learning of complex motor actions have evolved. In the present perspective paper, we build on brain-related findings and sketch recent research on learning by way of imagery and execution from a hierarchical, perceptual-cognitive approach to the motor action system. These findings provide valuable insights into the learning of intelligent systems from a perceptual-cognitive, representation-based perspective and as such add to our current understanding of action representation in memory and its changes with practice. Future research should build bridges between approaches in order to more thoroughly understand functional changes throughout the learning process, and to jointly contribute to developing intelligent cognitive systems and their application in robotics, rehabilitation, or sports. (shrink)

This article uses Hegel’s analysis of the Romantic form to elucidate the relationship between aesthetic space and subjectivity in modernist painting (Paul Klee) and cinema (Sergei Eisenstein). The movement that brings art to realization in Hegel thus includes genres and modalities of art that did not exist in his time: in cinema and modernist painting, the Idea or truth of art evolves and brings itself to completion. Plasticity, the movement of aesthetic form toward self-expression, abandons the rigid substantiality it achieves (...) in the Classical era and acquires unprecedented range, depth and resilience. In the Romantic form, the dynamism of the concept surfaces in full force and aesthetic boundaries expand. The emergence here of a new type of visual space is determined by a subjectivity that abandons the concrete, corporeal individuality associated with sculpture (most explicitly in Classical art) and imparts on sensuous form the fluidity of inner life. Music and poetry converge in the visual object which now assumes cinematic modality, a modality that also finds expression in modernist painting. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 36.3 (2003) 277-300 [Access article in PDF] Toward a Fragmatics, or Improvisionary Histories of Rhetoric, the Eternally Ad Hoc Cornelia Wells "Even historical truths are on the move, or truth is not the question." —my self "We don't / know much, and are / professors of it." —from Heather McHugh, "Professional Hazard," in McHugh (1987) In writing a history of rhetoric, we might want to (...) know before anything else both what rhetoric is and why we should care to be writing about it. Or we might begin with a notion of or motive for history or, more precisely, for doing or writing (a) history or histories (as opposed of course to History with a capital H, History proper, the "true whole" story and nothing else) of, specifically, rhetoric. 1 Or we might begin with a notion of subjectivity, of who this we is that concerns itself with this writing activity. Or we might focus on the writing itself, asking the question What is writing? or Who can do it? or What can it do? or What is it about? all of which may be much like answering or debating similar questions frequently asked about/of/through rhetoric. Indeed, rhetoric and writing, rhetoric and discourse, tend to be confused, or ecstatically intermingled, terms.Or fixating, as history so frequently does, on the oxymoronic notion of "final" origins, which function backward(ly) as destinations, we might begin with the question/justification of where or when rhetoric itself geographically/historically began and therefore establish the "proper" beginning place for our story of rhetoric to start. But as the contemporary poet Heather McHugh suggests, "where" may be "a narrow inquiry," and also when, for something always came before and generally from somewhere else, so that, ultimately, when and where never can be finally arrived at. 2 So we might, and probably will, follow the indirection or dereliction (as [End Page 277] opposed to direction) of the goddess Dike to Parmenides: "It is all one to me where I begin, for I shall return again." 3 Like Robert Frost, however, I doubt if I shall ever come back. Or not by the same road, believing with Heraclitus, "One cannot step twice into the same river" (or, perhaps less obviously, twice onto the same road) and that anyway it is "weariness to toil at the same tasks and be always beginning," at least beginning in the same place(s) (1979, Fragments LI and LIII). As they commonly say in Australia, a change is as good as a holiday. And anyway change arrives inevitably.So we may as well (as well as not) change our mind and change our route before it changes itself or us. We may as well turn away, before returning, pause from thinking about writing this particular history of rhetoric, about how or where or why to begin such a task in the "first" place (as if we have never previously occupied any other task or place), and consider instead some of the ways that histories of rhetoric have already been written or told or invented. But why should we make this turn? Well, for reconnaissance, I suppose. To get the lay of the land. To see the other side of the mountain. To show we've done our research. Or because a discipline demands continual recounting. To remain intact or stay in touch. Or for auld lang syne. Or so that improvisionarily, at least, "we shall have agreement on [']known['] premises, and the pursuit of further knowledge" (Rorty 1984, 67). Or to take stock. To see what's missing (as if we could say when the universe is full). Or to justify a point of departure. Or a point of entry into a conversation that preceded and therefore necessarily in some residual sense preempted or determined us. Or for just (only?) or unjust (not only?) cause. Or to establish ethos. Or just because. To show we "know." Auguring or augering (not arguing) a procedure Perhaps the best turn is to turn this essay, literally my attempted say, inside out... (shrink)

The reign of paper files would seem to be over once files are reduced to the status of icons on computer screens, but Vismann's book, which examines the impact of the file on Western institutions throughout history, shows how the creation of order in medieval and early modern administrations makes its returns in computer architecture.

In the age of surveillance capitalism, the prevailing business model underlying the use of social media applications (“apps”) foresees the exchange of personal data for the allowance to use an online service. Such a data business model comes with many potential negative side effects ranging from violation of privacy issues to election manipulation. Therefore, it is of utmost importance to think of alternatives to the current data business model. The present study investigated how strong the support would be for a (...) monetary payment model among a sample of 210 participants. Participants were asked about their willingness to pay for social media, if in turn their data would be private and other problems concerning social media use would be tackled. Only one-fifth of participants (21.43%) supported such a model. From the Big Five Personality traits, Agreeableness was positively associated with support of such a model. Finally, data are also provided on how much participants would be willing to pay for social media on a monthly basis. The present study’s findings are of a preliminary nature and will contribute to the start of an important discussion. (shrink)

This volume offers a new approach in Islamic hermeneutics and the understanding of Qur’anic exegesis, Muslim dialectical theology and the appropriation of Peripatetical logic in the Arabic world. It ranges from the 8th century up to Avicenna.

Baselitz is one of the most important artists of today. His works can be found in major museums around the world. For over 30 years, photographer Benjamin Katz has been documenting Baselitz at work in different studios. This volume now captures Baselitz's exceptional life at work and at home. Benjamin Katz is famous for his photographic portraits of artists. Among his previous subjects are Gerhard Richter, Joseph Beuys, Sigmar Polke, Rosemarie Trockel, and Martin Kippenberger. Because Katz is friends with most (...) of the artists, he is able to capture them when they are completely at ease. But, as he explains in this book, he prefers to photograph people while they are in the process of doing something. Katz shows Baselitz with paintbrush and hammer, and dog and cigar - the close relationship between the two artists is almost palpable. The photographs are the result of a friendship in an artistic world that they have been sharing for many decades. Cornelia Gockel's essay discusses Katz's unique, new window on the world of Georg Baselitz. (shrink)

The following text provides a conceptual and theoretical introduction to a collection of essays written by members of the multidisciplinary network of scholars, artists and cultural producers named ‘Poetics of Resistance’, which seeks to analyse and encourage discussion of the relationships between creativity, culture and political resistance, in the context of neoliberal globalization. The introduction also provides a critical glossary of a set of loosely interlinking keywords, following Raymond Williams, that mark points of encounter and departure between the approaches of (...) the various authors (not to be confused with the list of keywords used to index each article). Rather than presenting a completed research project, this issue serves as a basis for continuing collaborative research and dialogue in the field, and invites readers to join in the ongoing debate. The contributors to this issue are Paulina Aroch Fugellie, Burghard Baltrusch, Arturo Casas, María do Cebreiro Rábade Villar, Roberto Echavarren, Marcos Giadas Conde, Cornelia Gräbner, Nathalia Jabur, Thomas Muhr and David Wood. (shrink)

The intuitive notion of a binary relation on information-bearers, comparingthem with respect to their closeness to the available information, is oftenconstrued in terms of comparing their symmetric difference with, orcompositional similarity to, the available information. This happens forinstance in some treatments of verisimilitude. We expound an abstractmathematical rendering of the relevant data-dependent relation in theframework of Boolean algebras. For every element t of a Boolean algebra B we construct the t-modulated Boolean algebra Btin which the order relation represents `is at (...) most as compatible with t as'' or `is at best as similar to t as''. In the case of Lindenbaum-Tarskialgebras, t expresses the available information, and the compatibilityrelation turns out to be an entwinement of inferential and conjecturalrelations. It is just classical entailment when no information is available(i.e., when t is logically true) and becomes more boldly abductive themore information is available. The rich algebraic structures of a Boolean algebra –- including its Boolean group structures –- play a significant role in this combination of deduction and abduction and also induce cautious anddaring variants of the compatibility relation. Links with the literature onverisimilitude, abduction, and related topics are indicated. (shrink)

The 2D:4D-Ratio, as an indirect measure of the fetal testosterone to estradiol ratio, is potentially very important for understanding and explaining different personality traits. It was the aim of the present study to replicate the findings from Fink et al. (2004) about the relation between individual differences in 2D:4D-Ratios and the Five Factor Model in different cultural groups. Therefore a sample of n = 78 Chinese and n = 370 German participants was recruited. Every participant provided hand scans of both (...) hands, from which 2D:4D-Ratios were computed. Moreover, all participants filled in the NEO Five Factor Inventory (NEO-FFI). Significant sex differences were found for ratios of both hands in the expected direction, with females showing higher ratios than males. With respect to links between personality and the digit ratio, a positive association was observed between 2D:4D-Ratio and Neuroticism in females, as shown in the earlier study. These findings were observed in both female subsamples from China and Germany, as well as in the full sample of participants. But in contrast to the results for the whole and the German female sample, where 2D:4D-Ratio of both hands were related to Neuroticism, in the Chinese female sample only left hand 2D:4D-Ratio was significantly and positively related to Neuroticism. There were no significant correlations found in any of the male samples. Thus, prenatal exposure to sex steroids appears to influence the personality factor Neuroticism in females specifically. This finding potentially has implications for mental health, as Neuroticism has been shown to be a risk factor for various forms of psychopathology. (shrink)

Spricht man heute von Pathos, dann meint man meist peinlichen Gefühlskitsch. Diese Abwertung ist das Ergebnis einer Begriffsgeschichte, die um 1800 kippt. Während die Poetik und Ästhetik des 17. und 18. Jahrhunderts den hohen Kunstformen eine pathetische Ausdrucksweise vorschreiben, fasst Hegel das Pathos nur noch als das Leiden des vormodernen naiven Helden. Warburg beschreibt das Pathetische schließlich als eine in der Antike geprägte Stilform. Zu dieser Historisierung des Pathos, das vom zeitlosen Ideal der Kunst zu einer ihrer Entwicklungsstufen wird, gehört (...) die Diagnose vom Pathosverlust in der versachlichten Moderne. Trotz aller Versuche einer Reaktivierung pathetischer Kunst, etwa im Expressionismus, wandert ein mit Übertreibung und Trivialität assoziiertes Pathos im 20. Jahrhundert in die Populärkultur ab. Vom modernen Unbehagen am Pathos aus adressieren die im Band versammelten Beiträge aus Literaturwissenschaft, Rhetorik, Kunstgeschichte und Filmwissenschaft problematische Punkte historischer Pathoskonzepte. Auf der Suche nach Widersprüchen setzen sie an historischen, diskursiven und medialen Übergängen an: am Transfer zwischen Rhetorik und Poetik; zwischen Ethos und Pathos, zwischen realer Gewalterfahrung und ihrer formalisierten Darstellung, zwischen großen Gesten und privatem Gefühlsausdruck im 18. Jahrhundert. Diskutiert werden ebenfalls die Ausprägungen eines prosaischen Pathos im 19. Jahrhundert und dessen Verhältnis zu medizinischen und psychiatrischen Diskursen sowie die Remodellierung des Pathos in den Bildmedien des 20. Jahrhunderts. (shrink)

In the preliminary work for his Theses On the Concept of History, Walter Benjamin quotes a passage from Henri Focillon’s La vie des formes, using Focillon’s description of classical style for his own notion of the dialectical image. The Essay locates Benjamin’s surprising reception of Focillon in their common interest in a life of forms, not so much in the sense of aesthetic liveliness as defined by Kant, but in its productiveness of other forms. Focillon’s idea of art history is (...) based on the dynamis or potentiality of artistic shapes giving way to ever new figures and forms. This is not only a key to Benjamin’s concepts of Fortleben/Nachleben in the early Essay The Task of the Translator but also to the ‘dialectical image‘ outlined in the Arcades Project. Benjamin, this Essay argues, refers to Focillon’s life of forms to conceptualise disharmonious and sudden changes of form. (shrink)

In recent debates about inequality, many have pointed to the predominant position of the finance. This article highlights that structural power, not lobbying resources, are key to explaining variations across countries. It examines finance-government negotiations over national bank rescue schemes during the recent financial crisis. Given the structural power of finance, the variation in bank bailouts across countries cannot be explained by lobbying differences. Instead of observing organized interest intermediation, we can see that disorganization was crucial for the financial industry (...) to get off the hook and let the government carry the burden of stabilizing the economy. Put differently, structural power is strongest when finance remains collectively inactive. In contrast to traditional accounts of the lobbying influence of finance, the comparison highlights that the lack of organization can have crucial redistributive consequences. (shrink)

Cornelia Dean draws on her 30 years as a science journalist with the New York Times to expose the flawed reasoning and knowledge gaps that handicap readers when they try to make sense of science. She calls attention to conflicts of interest in research and the price society pays when science journalism declines and funding dries up.--.