Background: The vascular depression hypothesis emphasizes the significance of vascular lesions in late-life depression. At present, no meta-analytic model has investigated whether a difference in hyperintensity burden compared to controls between late-life and late-onset depression is evident. By including a substantial number of studies, focusing on a meaningful outcome measure, and considering several moderating and control variables, the present meta-analysis investigates the severity of hyperintensity burden in major depressive disorder (MDD) and bipolar disorder (BD). A major focus of the present (...) meta-analysis refers to the role of age at illness onset. It is analyzed whether late-onset rather than late-life depression characterizes vascular depression. Method: In total, 68 studies were included in the meta-analysis and a multilevel random effects model was calculated using Hedges’ g as the effect size measure. Results: The severity of hyperintensity burden was significantly greater in the patient group compared to the control group. This effect was evident regarding the whole patient group (g = 0.229) as well as both depression subgroups, with a significantly greater effect in BD (g = 0.374) compared to MDD (g = 0.189). Hyperintensity burden was more pronounced in late-onset depression than in early-onset depression or late-life depression. A considerable heterogeneity between the included studies was observed, which is reflected by the large variability in effects sizes. Conclusion: In conclusion, the present meta-analysis underscores the association of hyperintensities with MDD and BD. Especially late-onset depression is associated with an increased hyperintensity burden, which is in line with the vascular depression hypothesis. The results suggest that it might be more feasible to confine the concept of vascular depression specifically to late-onset depression as opposed to late-life depression. Further research is needed to understand the causal mechanisms that might underlie the relation between hyperintensity burden and depression. (shrink)

This multilevel meta-analysis examines whether emotional intelligence can be enhanced through training and identifies training effects’ determinants. We identified 24 studies containing 28 samples aiming at increasing individual-level EI among healthy adults. The results revealed a significant moderate standardized mean change between pre- and post-measurement for the main effect of EI training, and a stable pre- to follow-up effect. Additionally, the type of EI model, dimensions of the four branch model, length, and type of publication turned out to be significant (...) moderators. The results suggest that EI trainings should be considered effective interventions. (shrink)

*Weitere Angaben Inhalt: Mit der Frage nach der Zuständigkeit der eigenen Nase in Religionsangelegenheiten beginnt diese ungewöhnliche Reise in Erfahrungsbereiche, die von Theologen bislang eher gemieden wurden. Nicht der Inhalt von Glaubensbekenntnissen ist Gegenstand des Interesses, sondern der Tonfall, in dem sie vorgetragen werden. Von bestimmten Kirchengerüchen geht die Rede, von Körperhaltungen beim Gottesdienst, von Kindheitserinnerungen und vom Läuten der Glocken. Dabei stellt sich heraus, dass mit dem abgenützten Etikett des Religiösen die Sinnenfälligkeit des Erlebten nur sehr oberflächlich bezeichnet wird.

In Thomas Thomson's System of chemistry of 1802 Bergman and Scheele are actually considered as creators of the analytical concept of an element. With regard to this, a detailed investigation of the work of Bergman and Scheele shows that Thomson's statement contains mistakes as well as inadmissable simplifications and generalizations. It is correct, however, that Bergman in 1774–1777 specifically anticipated in essential aspects the analytical element concept proposed by Lavoisier in 1787–1789.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 13-31 [Access article in PDF] A Philosophical Inquiry into the Nature of Computer Art Holle Humphries Before the computer is accepted unquestioningly as a legitimate artistic medium, some of the challenging aesthetic and philosophical issues raised by [computer art] must be solved. The most haunting questions concern the impact of the technology on the artist, the creative process, and the nature of (...) art. 1How might we lead students in an exploration of the philosophical issues regarding art created with a computer? The most important step is first to guide them in exploring ontological concepts and questions asked about the nature of art and computer art, before investigating related issues of epistemology, value, and criticism. Students need to understand the nature of their art tool and medium of choice. Therefore, it becomes a matter of concern to discover that when discussing and writing about computer art, students sometimes use such terms interchangeably as "computer art" and "computer-generated art," when they are not synonymous, and talk about "virtual reality" as though engaging in any activity that involves a computer constitutes experiencing one. It is clear that this problem arises because many have not paused to examine the nature of computer art within the context of the process and product of art, and the subtle nuances regarding what might distinguish each from other human enterprise. To help clarify their thinking, we might use the foundation of art theory and the strategy of philosophical inquiry, implemented by adopting questioning strategies, to guide students through an exploration of the ontological nature of computer art. This can begin by launching the question: "What is the nature of art — or computer art?" Philosophy of Art: "What is the Nature of Art?" Many philosophers have attempted to describe or define the nature of art formulated in a theory of art. A theory of art attempts to specify where the essence of art is thought to reside, or what exactly art's essence is. [End Page 13]The imitation theory, initiated in the 5th century B.C. by Plato, held that to be a work of art, an object must mirror reality. 2 As this theory placed the essence of art in the objective properties of the art work itself, we consider the imitation theory to be object-centered or objective in nature. Similarly, with his formalist theory of art, Clive Bell claimed that the essence of art lies in the object — within the structural design properties of a work of art. To qualify as a work of art, an object must exhibit significant form. Significant form consists of certain formal properties such as the art elements of lines and color combined in a particular way according to art principles, all used to create certain forms and relations of forms. 3The expression theories of art shifted attention to the artist and audience and thus are considered subject centered, or subjective, bound up in notions of the experience of creation by the artist and/or the response of the audience. Benedetto Croce asserted that a work of art resides in the mind of the artist. An artist must experience an intuition, and it is this mental process that constitutes art, not the object which the artist might create thereafter. 4 Robin Collingwood claimed that art is an exploration, clarification, and expression of an artist's emotion, made clear to an audience through a medium. 5 Leo Tolstoy believed that art should be a vehicle by which the emotion experienced by the artist at the time of creation is transmitted to an audience, so that the audience can experience that emotion as well. 6Morris Weitz asserted that none of these theories capture an essence of art because they are either too broad, too narrow, or else are circular. He claimed that the concept of art cannot be limited to one essence delimited in a definition. Weitz suggested that we must instead look at what theories of art have to say is important about art so that we know what to... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 13-31 [Access article in PDF] A Philosophical Inquiry into the Nature of Computer Art Holle Humphries Before the computer is accepted unquestioningly as a legitimate artistic medium, some of the challenging aesthetic and philosophical issues raised by [computer art] must be solved. The most haunting questions concern the impact of the technology on the artist, the creative process, and the nature of (...) art. 1How might we lead students in an exploration of the philosophical issues regarding art created with a computer? The most important step is first to guide them in exploring ontological concepts and questions asked about the nature of art and computer art, before investigating related issues of epistemology, value, and criticism. Students need to understand the nature of their art tool and medium of choice. Therefore, it becomes a matter of concern to discover that when discussing and writing about computer art, students sometimes use such terms interchangeably as "computer art" and "computer-generated art," when they are not synonymous, and talk about "virtual reality" as though engaging in any activity that involves a computer constitutes experiencing one. It is clear that this problem arises because many have not paused to examine the nature of computer art within the context of the process and product of art, and the subtle nuances regarding what might distinguish each from other human enterprise. To help clarify their thinking, we might use the foundation of art theory and the strategy of philosophical inquiry, implemented by adopting questioning strategies, to guide students through an exploration of the ontological nature of computer art. This can begin by launching the question: "What is the nature of art — or computer art?" Philosophy of Art: "What is the Nature of Art?" Many philosophers have attempted to describe or define the nature of art formulated in a theory of art. A theory of art attempts to specify where the essence of art is thought to reside, or what exactly art's essence is. [End Page 13]The imitation theory, initiated in the 5th century B.C. by Plato, held that to be a work of art, an object must mirror reality. 2 As this theory placed the essence of art in the objective properties of the art work itself, we consider the imitation theory to be object-centered or objective in nature. Similarly, with his formalist theory of art, Clive Bell claimed that the essence of art lies in the object — within the structural design properties of a work of art. To qualify as a work of art, an object must exhibit significant form. Significant form consists of certain formal properties such as the art elements of lines and color combined in a particular way according to art principles, all used to create certain forms and relations of forms. 3The expression theories of art shifted attention to the artist and audience and thus are considered subject centered, or subjective, bound up in notions of the experience of creation by the artist and/or the response of the audience. Benedetto Croce asserted that a work of art resides in the mind of the artist. An artist must experience an intuition, and it is this mental process that constitutes art, not the object which the artist might create thereafter. 4 Robin Collingwood claimed that art is an exploration, clarification, and expression of an artist's emotion, made clear to an audience through a medium. 5 Leo Tolstoy believed that art should be a vehicle by which the emotion experienced by the artist at the time of creation is transmitted to an audience, so that the audience can experience that emotion as well. 6Morris Weitz asserted that none of these theories capture an essence of art because they are either too broad, too narrow, or else are circular. He claimed that the concept of art cannot be limited to one essence delimited in a definition. Weitz suggested that we must instead look at what theories of art have to say is important about art so that we know what to... (shrink)

Knapp sechs Jahre nach Rudolf Heinz' sechzigstem Geburtstag und dem auf dieses Ereignis ausgerichteten Erscheinen der Festschrift "Kontiguitäten. Texte-Festival für Rudolf Heinz" (Christoph Weismüller [Hg.] unter Mitarbeit von Ralf Bohn, Wien: Passagen 1997) folgt die Nachbearbeitung der "Kontiguitäten" und deren Produktion. Die Post-Skripts zum Texte-Festival für Rudolf Heinz setzen ein mit den Dokumenten der Feierlichkeit der Festschriftüberreichung: Laudatio, Geburtstagskomposition - inklusive Audio-CD -, Photographien der Festschriftübergabe. Unter dem topos Festschrift-Mechané folgt diesen Initialien die Korrespondenz von Heide (...) class='Hi'>Heinz und Christoph Weismüller nebst notwendigen Paraphrasen und Hinweisen. Die Après nehmen einschlägige Kontiguitäts-Effekte auf, die mit der Fertigstellung der Festschrift, der Feierlichkeit der Übergabe, ihrer Distribution und ersten Nachbearbeitungen ihrer Konstitution einhergingen oder diesen folgten. Die Katamnese von Heide Heinz und Rudolf Heinz sowie weitere Korrespondenzen - Heide Heinz mit Ralf Bohn, Doris Dorner, Axel Schünemann; Rudolf Heinz mit Manfred Pohlen - finden sich als Zuträge ein. (shrink)

Keine ausführliche Beschreibung für "Der Konnossement-Teilschein" verfügbar.

This is one of the most important books on quantum mechanics ever written for lay readers, in which an eminent physicist and successful science writer, Heinz Pagels, discusses and explains the core concepts of physics without resorting to complicated mathematics. "Can be read by anyone. I heartily recommend it!" -- New York Times Book Review. 1982 edition.

This junior/senior level text is devoted to a study of first-order logic and its role in the foundations of mathematics: What is a proof? How can a proof be justified? To what extent can a proof be made a purely mechanical procedure? How much faith can we have in a proof that is so complex that no one can follow it through in a lifetime? The first substantial answers to these questions have only been obtained in this century. The most (...) striking results are contained in Goedel's work: First, it is possible to give a simple set of rules that suffice to carry out all mathematical proofs; but, second, these rules are necessarily incomplete - it is impossible, for example, to prove all true statements of arithmetic. The book begins with an introduction to first-order logic, Goedel's theorem, and model theory. A second part covers extensions of first-order logic and limitations of the formal methods. The book covers several advanced topics, not commonly treated in introductory texts, such as Trachtenbrot's undecidability theorem. Fraissé's elementary equivalence, and Lindstroem's theorem on the maximality of first-order logic. (shrink)

Mario Bunge is an important philosopher of science. But he does not limit himself to using his “truth-technology” in his particular philosophical discipline. For decades, he has also endeavored to achieve an independent profile as a public intellectual on the basis of his wide-ranging competence. To this end, he authoritatively criticizes authors who market themselves to the public as anti-scientists or as pseudo-scientists. On his home continent of Latin America, Mario Bunge is regarded as a role model because he has (...) achieved international recognition like no other South American philosopher before him. (shrink)

"Freitag, 22. Mearz 2002, 19.30 Uhr, Alte Beorse am Naschmarkt in Leipzig"--T.p. verso.

This contribution to the special issue is an historical account of Paulo Freire’s pedagogical and administrative praxis before his forced exile in 1964. It relies on interviews collected during a field trip in 1976, a conversation with Paulo Freire in Geneva one year later and on the secondary literature up to date. Being the head of the first Extension Service of a major Brazilian university in the early 1960s gave Freire and his collaborators the space and time to experiment with (...) the today world famous literacy method bearing his name. The concept of ‘Field of Cultural Production’ (Bourdieu) is used to elucidate better Freire and his team’s avant-gardist production within the spaces opened up by Brazil’s popular movements in the early sixties. The contribution shows how the ‘Paulo Freire System’ developed in the praxis of a cultural movement and received its academic consecration in an incremental and eclectic style. (shrink)