Gott ist schon seit Nietzsche tot? aber was ist mit dem Teufel? Woher kommt er, wie hat er seine bekannte Gestalt angenommen, und warum kann auch er nichts weiter als ein Produkt menschlicher Abstraktion sein? Erstmals in der Historie der Philosophie wird die Vermenschlichung des Teufels umfassend und interdisziplinär aufgeschlüsselt, um ihn als das zu entschleiern, was er ist: eine menschliche Kopfgeburt, die lediglich ein hässliches Abziehbild von uns selbst ist. Diese Erkenntnis mündet in den anthropologischen Adiabolismus, die anthropologische Teufelsverneinung: (...) Der Teufel ist nur die leere Hülle des ausgelagerten menschlich Bösen. Anhand vielfältiger Disziplinen wie Anthropologie, Theologie, Kunstgeschichte, Literatur und Volkskunde wird die riesige Anthropomorphismus-Matrix des Teufels religionsphilosophisch enthüllt. Von Feuerbachs wegweisender Religionskritik ausgehend weitet Matthias Christian Friedel den Blick auf Teufelsbilder der gesamten Religionsgeschichte und gelangt über die grossen Teufelscharaktere der Literatur bis zum Teufelsbild im wörtlichen Sinne: Den Abschluss seiner umfassenden Teufelsstudie bildet ein 57-seitiger Katalog, der mit vielen der bemerkenswertesten Teufelsabbildungen, von Blake und Doré bis Goethe, die Entstehungsgeschichte unserer heutigen Vorstellungswelt illustriert. (shrink)

Over the last 25 years, there has been an increasing fascination with the “dark” side of leadership. The term “destructive leadership” has been used as an overarching expression to describe various “bad” leader behaviors believed to be associated with harmful consequences for followers and organizations. Yet, there is a general consensus and appreciation in the broader leadership literature that leadership represents much more than the behaviors of those in positions of influence. It is a dynamic, cocreational process between leaders, followers, (...) and environments, the product of which contributes to group and organizational outcomes. In this paper, we argue that, despite this more holistic recognition of leadership processes within the broader leadership literature, current conceptualizations and analyses of destructive leadership continue to focus too heavily on behaviors and characteristics of “bad” leaders. In our view, to achieve a more balanced understanding of destructive leadership, it is important to adopt more integrative approaches that are based in the contemporary leadership discourse and that recognize flawed or toxic leaders, susceptible followers, and conducive environments as interdependent elements of a broader destructive leadership process. To this end, we offer a critique of the destructive leadership literature, propose a broader definition of destructive leadership, and highlight gaps in our understanding of leaders, followers, and environments in contributing to destructive leadership processes. Finally, we conclude by discussing strategies for examining destructive leadership in a broader, more holistic fashion. (shrink)

The late Ananda K. Coomaraswamy, curator of Indian art at the Boston Museum of Fine Arts, uniquely combined art historian, philosopher, orientalist, linguist, and expositor in his person. His knowledge of the arts and handcrafts of the Orient was unexcelled and his numerous monographs on Oriental art either established or revolutionized entire fields. He was also a great Orientalist, with an almost unmatched understanding of traditional culture. He covered the philosophic and religious experience of the entire premodern world, east and (...) west, and for him primitive, medieval European, and classical Indian experiences of truth and art were only different dialects in a common language. Finally, Coomaraswamy was a provocative writer, whose erudition was expressed in a delightful, aphoristic style. The nine essays in this book are among his most stimulating. They discuss such matters as the true function of aesthetics in art, the importance of symbolism, and the importance of intellectual and philosophical background to the artists; they demonstrate that abstract art and primitive art, despite superficial resemblances, are completely divergent; and they deal with the common philosophy which pervades all great art, the nature of medieval art, folklore, and modern art, the beauty inherent in mathematics, and the union of traditional symbolism and individual portraiture in premodern cultures. (shrink)

Christian Waldvogel's work in conceptual and visual art is about the Earth within the solar system and mankind within its world and new imaginations. Waldvogel uses mainly photography, various means of digital image-generation and processing and moving i.

In this essay, I argue that though symbolism performs many roles in different cultures, it has a uniquely moral one in Igbo land. That unique role which symbolism performs in the pristine communalistic Igbo society concerns the regulation of human freedoms and actions in order to maintain social order. But is this something that can be sustained in a modern Igbo society that is more individualistic than communalistic? This paper is of the view that through the proper maintenance of such (...) symbolism: social control between individuals and groups shall be more coordinated in the contemporary Igbo world; regulate and checkmate the Igbo moral consciousness of oneness; control some cultural maladjustment and bring more about social unity in Igbo land. Keywords: Symbol, Symbolism, Social Order, Igbo, Oji. (shrink)

It is often argued by educators and researchers that access to the arts leads to increased academic performance. However, it is not clear why such access does so. We here use autopoietic enactive embodied cognition and ecological psychology to explain the relationship between dance training and conceptual problem-solving. We investigate four features of dance training that are beneficial for conceptual problem-solving and critical thinking: empathy, affordance exploration, attention change, and habit breaking. In each case, we will see that the embodied (...) sensorimotor skills developed through dance practice are a form of affordance exploration that can carry over into the realm of conceptual problem-solving. Hence, since some of the skills needed in conceptual problem-solving are the same ones developed and trained through dancing, when we train dance, we also train some of the relevant skills for conceptual problem-solving and critical thinking. (shrink)

In this paper, I will present an argument against Husserl’s analysis of picture consciousness. Husserl’s analysis of picture consciousness (as it can be found primarily in the recently translated volume Husserliana 23) moves from a theory of depiction in general to a theory of perceptual imagination. Though, I think that Husserl’s thesis that picture consciousness is different from depictive and linguistic consciousness is legitimate, and that Husserl’s phenomenology avoids the errors of linguistic theories, such as Goodman’s, I submit that his (...) overall theory is unacceptable, especially when it is applied to works of art. Regarding art, the main problem of Husserl’s theory is the assumption that pictures are constituted primarily as a conflict between perception/physical picture thing and imagination/picture object. Against this mentalist claim, I maintain, from a hermeneutic point of view, that pictures are the result of perceptual formations [Bildungen]. I then claim that Husserl’s theory fails, since it does not take into account what I call “plastic perception” [Bildliches Sehen], which plays a prominent role not only within the German tradition of art education but also within German art itself. In this connection, “plastic thinking” [Bildliches Denken] was prominent especially in Klee, in Kandinsky, and in Beuys, as well as in the overall doctrine of the Bauhaus. Ultimately, I argue that Husserl’s notion of picture consciousness and general perceptive imaginary consciousness must be replaced with a more dynamic model of the perception of pictures and art work that takes into account (a) the constructive and plastic moment, (b) the social dimension and (c) the genetic dimension of what it means to see something in something (Wollheim). (shrink)

Many activities of daily living require that we physically interact with one or more objects. Object manipulation provides an intriguing domain in which the presence and extent of manual asymmetries can be studied on a motor planning and a motor execution level. In this literature review we present a state of the art for manual asymmetries at the level of motor planning during object manipulation. First, we introduce pioneering work on grasp posture planning. We then sketch the studies investigating the (...) impact of future task demands during unimanual and bimanual object manipulation tasks in healthy adult populations. In sum, in contrast to motor execution, there is little evidence for hand-based performance differences in grasp posture planning. We discuss potential reasons for the lack of manual asymmetries in motor planning and outline potential avenues of future research. (shrink)

Recent advancements in AI have prompted a large number of AI ethics guidelines published by governments and nonprofits. While many of these papers propose concrete or seemingly applicable ideas, few philosophically sound proposals are made. In particular, we observe that the line of questioning has often not been examined critically and underlying conceptual problems not always dealt with at the root. In this paper, we investigate the nature of ethical AI systems and what their moral status might be by first (...) turning to the notions of moral agency and patience. We find that their explication would come at a too high cost which is why we, second, articulate a different approach that avoids vague and ambiguous concepts or the problem of other minds. Third, we explore the impact of our philosophical and conceptual analysis on the regulatory landscape, make this link explicit, and finally propose a set of promising policy steps. (shrink)

Artificial intelligence represents a key technology being inbuilt into evermore products. Research investigating attitudes towards artificial intelligence surprisingly is still scarce, although it becomes apparent that artificial intelligence will shape societies around the globe. To better understand individual differences in attitudes towards artificial intelligence, the present study investigated in n = 351 participants associations between the Affective Neuroscience Personality Scales (ANPS) and the Attitudes towards Artificial Intelligence framework (ATAI). It could be observed that in particular higher levels of SADNESS were (...) associated with higher negative attitudes towards AI (fearing AI). The findings are discussed in this work from an evolutionary perspective because primary emotional systems—according to Affective Neuroscience Theory—represent tools for survival, which have been homologously conserved across mammalian species including homo sapiens. (shrink)

Perceptions are often merely regarded as the basic elements of knowledge. They have, however, a complex structure of their own and are far from being elementary. My paper will analyze two basic patterns of perception and some of the resulting medical implications. Most basically, all object perception is characterized by a mixture of knowledge and ignorance (Husserl). Perception essentially perceives with inner and outer horizons, brought about by the kinesthetic activity of the perceiving subject (Sartre). This first layer of perceptual (...) reality, the world of open perceptions, is the inescapable background for every rationality, every value, every existence (Merleau-Ponty). On an epistemological level a characteristic change of perceptual patterns in medicine was introduced by pathological anatomy (Foucault). The reference of medical perception to the dead body created the new possibility of absolute perception, allowing for more precise medical interventions, but at the same time coming into conflict with the open structures of ordinary, non-scientific perception patterns in everyday life. On the basis of these distinctions, an analysis of the different perceptual patterns in medicine becomes possible. Such an analysis would be the task of a sub-field in medical philosophy that could be called medical aesthetics having as its goal an art of perception understood as a technique of adequately applying different perceptual patterns in medical practice. (shrink)

Name der Zeitschrift: Der Islam Jahrgang: 94 Heft: 1 Seiten: 5-56.

Literature for children is often designed to stimulate imagination through variants of the “real” world that we inhabit, expanding their potential for construing different possible worlds – variants that include imaginary characters like animals with human traits or toys that are somehow animated and conscious. Here we will examine one version of Margery William’s classic nursery tale The Velveteen Rabbit, or How Toys Become Real, where the theme of “real” and imaginary characters and worlds is construed both linguistically and pictorially. (...) We will show how the theme is construed in both text and image, and how the two complement one another, together keeping the two worlds apart while at the same time representing the Velveteen Rabbit’s transformation from toy rabbit to real rabbit. (shrink)

The notion of absolute spirit, while undeniably central to Hegel’s philosophy, has been somewhat neglected in the literature. Two main lines of interpretation can be identified: a traditional metaphysical reading, according to which “absolute spirit” refers to an infinite spiritual substance, and a non-metaphysical reading, according to which it refers to activities in which human beings articulate their understanding of the principles that guide their communal life. Both types of reading are problematic exegetically as well as philosophically. This article develops (...) an epistemological reading instead. Accordingly, “absolute spirit” refers to a kind of knowledge, which is distinct from empirical and practical knowledge. Hegel conceives of art, religion, and philosophy as species of such knowledge. While this view might seem astonishing, it can be justified by showing that it is by recourse to paradigmatic instances of artistic, religious, and philosophical activity that the otherwise indefinable notion of truth is fixed. (shrink)

Rudolf Carnap’s formative years as a philosopher were his time in Jena where he studied mathematics, physics, and philosophy, among others, with Gottlob Frege, the neo-Kantian Bruno Bauch, and Herman Nohl, a pupil of Wilhelm Dilthey.2 Whereas both the influence of Frege and of the neo-Kantians is quite well known,3 the importance of the Dilthey school for Carnap’s intellectual development was recently highlighted by scholars, such as Gottfried Gabriel and Hans-Joachim Dahms.4 Although Carnap himself was interested mainly in the problems (...) of logic and the philosophy of the natural sciences, the community in which he worked until he went to Vienna in 1926 was neither a community of neo-Kantian philosophers nor of logicians or philosophers of the natural sciences but a community of members of the Dilthey school that were interested in history of philosophy,5 pedagogic,6 aesthetics,7 and sociology.8 Carnap and his friends were all members of the so-called Seracircle, a group of young people that met frequently in Jena and, between 1919 and 1926, also in Carnap’s home in Buchenbach near Freiburg.9 The first version of the Aufbau was written in close connection with this group of young people that were interested in a reform of the whole society, including arts, politics, sciences, and everyday life. In Carnap’s Werkstatt in Buchenbach, the Aufbau and at least two more manifestos of a more or less philosophical nature were written: Franz Roh’s “Nach-Expressionismus” and Wilhelm Flitner’s “Laienbildung.”10 Given these historical facts, we must conclude that the Aufbau is the product of an intellectual enterprise that developed in close connection with the Dilthey school, but in which Frege and the neo-Kantians seem to have played only a small role. (shrink)

In 1764, Kant published his Observations on the Feeling of the Beautiful and the Sublime and in 1790 his influential third Critique , the Critique of the Power of Judgment . The latter contains two parts, the 'Critique of the Aesthetic Power of Judgment' and the 'Critique of the Teleological Power of Judgment'. They reveal a new principle, namely the a priori principle of purposiveness ( Zweckmäßigkeit ) of our power of judgment, and thereby offer new a priori grounds for (...) beauty and biology within the framework of Kant's transcendental philosophy. They also unite the previous two Critiques , the Critique of Pure Reason and the Critique of Practical Reason . Besides contributing to general and systematic aspects within his transcendental philosophy, Kant's aesthetics also offers new insights into old problems. It deals with feeling versus experience, subjectivity versus objectivity, disinterested pleasure, aesthetic universality, free and adherent beauty, the sensus communis , genius, aesthetic ideas, beauty as the symbol of morality, beauty of nature versus beauty of art, the sublime, and the supersensible. In this article I will limit myself to this critical aesthetics of Kant. But I will also discuss the ugly and the possibility of beauty in mathematics and see whether Kant's theory can successfully explain or deal with them. I will also compare his theory with philosophical ideas from a very different tradition, namely from Confucius, not only as a challenge to Kant's theory, but also because there is a growing interest from the Chinese side in combining ideas from Confucius and Kant, an interest that might well become influential in both East and West during the 21st century. (shrink)

The Minneapolis Institute of Arts holds the Upper Midwest's most significant permanent collection of fine photographs. Covering the entire history of the medium, from the mid-nineteenth century to the present day. This beautiful book opens with an 1845 salt print by the English inventor William Henry Fox Talbot and closes with a 2002 color portrait by Alec Soth from his series Sleeping by the Mississippi. In between, selected images represent the genres of documentary photography, photojournalism, and street photography. Included are (...) Dorothea Lange's "Migrant Mother" and Arthur Rothstein's "Dust Storm," as well as Edward Weston's "Pepper No. 30" and Ansel Adams's "Moonrise, Hernandez." Commemorating the collecting legacy of Carroll T. Hartwell, the founding curator of the museum's department of photographs, this book reveals Hartwell's critical eye for singular historical photographs and his belief in the influence and vitality of accomplished contemporary photographers. In an introductory essay, Christian A. Peterson recounts the history of the museum's photography collection and Hartwell's indelible imprint on the Minneapolis Institute of Arts. (shrink)

O presente artigo pretende refletir, a partir de contribuições de Theodor W. Adorno, sobre aspectos da formação objetiva do sujeito. Isso é feito por meio da apropriação de conceitos como autoconservação, autocrítica e crítica imanente. Tomamos como exemplo parte do projeto de à la recherche du temps perdu de Marcel Proust, nomeadamente, Un amour de Swann . A análise do processo de formação de Swann permite observar nexos e tensões que o sujeito elabora com o mundo objetivo. A ação do (...) Swann incorpora na sua relação co m o mundo objetivo os processos próprios da Obra de Arte autêntica para empreender a crítica necessária ao contexto social em que está inserido. Crítica esta, também, voltada a si próprio. (shrink)

When contrasting something with its opposite, such as positive numbers with negative numbers, repulsion with attraction, good and evil, beauty and ugliness, Kant some-times says the latter are not merely cases of negation or privation of the former, but that they have their own, independent grounds. But do negative judgments of taste really have a priori grounds? There are two kinds of negative judgments of taste: “This is not beautiful” and “This is ugly.” Can they be a priori judgments? Or (...) are they always impure and without a priori basis? In this essay, I argue that they can be pure a priori judgments. I will give detailed analyses of examples involving part-whole relationships, objects of art, and aesthetic ideas. In addition, detailed discussions of opposing interpretations will be offered. (shrink)

In this essay Christiane Thompson discusses the systematic outcomes of Theodor Adorno's philosophical work for a reworked theory of Bildung. In his essay “Theory of Halbbildung,” Adorno revealed the inevitable failure of Bildung, on the one hand, and the necessity of Bildung, on the other. After having exposed this contradiction, Thompson seeks to analyze Bildung's systematic role by turning to Adorno's reflections on art and metaphysics. Adorno's concept of aesthetic experience hints at the possibility of a more genuine approach to (...) Bildung and culture, one that makes the borders of our experience visible and, as a result, suggests a different relation to ourselves and to the world. She concludes by examining the critical dimensions of this different Bildung as well as its pedagogical relevance. (shrink)

Mathematicians often say that their theorems, proofs, and theories can be beautiful. They say mathematics can be like art. They know how to move creatively and freely in their domains. But ordinary people usually cannot do this and do not share this view. They often have unpleasant memories from school and do not have this experience of freedom and creativity in doing mathematics. I myself have been a mathematician, and I wish to highlight some of the creative aspects in doing (...) mathematics. I always had the feeling that there is much freedom in mathematics and that one can do as one pleases as long as one avoids contradictions (and one can even live with contradictions for a while). In mathematics one only needs to define something and there it is! Just imagine it, and it immediately exists. Where else, besides fiction, does one have such power? --- This essay has three parts. In the first, I lay out some historical facts and views that I will need later. Second, I insert an interlude with Kant, pointing out some of his claims and insights in aesthetics, and some aspects in mathematics that I think he overlooked or underestimated. Third, I will bring out some aspects of higher mathematics that I will show are similar to art. These aspects are in the doing and creating of mathematics, not in the finished theories. They are usually not found in textbooks. I want to show that a researcher in mathematics is like a painter or composer, exploring and creating. To see this, one has to adopt a first-person perspective. In this way I will show that aesthetics plays a role and leaves its traces also in mathematics. (shrink)

This volume brings together a collection of essays on the philosophy of love by leading contributors to the discussion. Particular emphasis is placed upon the relation between love, its character and appropriateness and the objects towards which it is directed: romantic and erotic partners, persons, ourselves, strangers, non-human animals and art. It includes contributions by Aaron Ben Ze’ev (‘Ain’t Love Nothing but Sex Misspelled?’), by Angelika Krebs (‘Between I and Thou – On the Dialogical Nature of Love’), Aaron Smuts (‘Is (...) it Better to Love Better Things?’) and Jan Bransen (‘Loving a Stranger’). By focusing upon the different objects of love, and how the lover enters into a relation with them, the collection pushes beyond the recent debates on reasons for love and breaks new and important ground. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Configured to Christ: On Spiritual Direction and Clergy Formation by James KeatingChristian Raab O.S.B.Configured to Christ: On Spiritual Direction and Clergy Formation by James Keating (Steubenville, OH: Emmaus Road, 2021), xxix + 312 pp.Deacon James Keating has served the Church by forming her clergy for thirty years. While he has been a seminary professor and a director of deacon formation at the diocesan level, his prolific scholarship as (...) well as his time as director of theological formation for the Institute for Priestly Formation in Creighton, NE, made him a national figure. Configured to Christ is a collection of Keating's most important essays.While this book is a retrospective, it couldn't be more timely. In 2016 (on the Feast of the Immaculate Conception, December 8), the Congregation for Catholic Education issued The Gift of the Priestly Vocation—Ratio Fundamentalis Institutionis Sacerdotalis, a text which provides guidelines for the whole Church concerning priestly formation. In the fall of 2021, the United States Council of Catholic Bishops completed their revision of the sixth edition of the Program of Priestly Formation (PPF), which translates the principles of the Ratio for the American context. With these two documents in place, it now falls upon seminaries to examine their programs in light of the vision provided by the magisterium. The next five to ten years promise to be a time of reform and renewal in seminary formation. Institutions will be looking for fresh and orienting ideas. Keating's book can be recommended as among the best resources for the venture that awaits.One reason Keating's book is so valuable is its focus on the "perichoresis" of the various aspects of formation (107). This emphasis is consonant with the terminological change found in the new PPF from the language of formational "pillars" to the language of formational "dimensions" (see the USCCB's 5th edition of the PPF, §28). The thinking behind this change seems to have been that it was too easy to imagine "pillars" as separate from [End Page 1110] one another. The human, spiritual, intellectual, and pastoral dimensions of formation are in fact interwoven, interdependent, and interpenetrating. While they can be distinguished, they cannot be divided. Growth in one fosters growth in the other. Keating has long understood this, as his various essays show.The book is divided into three parts and eighteen chapters. Part 1 is entitled "The Interior Life of the Cleric." Here, readers are introduced to the integral relationship between the spiritual and intellectual formational dimensions. For example, Keating provides, in chapter 1, a sustained theoretical reflection on the relationship between academic theology and spirituality, and, in chapter 2, he examines John Henry Newman's writings as a concretized test case for the right relationship of prayer, study, and thought. Authors such as Hans Urs von Balthasar and Jean Leclercq have investigated this relationship in classic works, but Keating's presentation is notable for its accessibility, coherence, and concision. The remaining chapters of part 1 address the topics of silence and spiritual direction. Emerging from these analyses are the insights that interiority expands through discovery of Christ within. We participate in Christ as we behold, wonder, think, theologize, and pray. Keating's plea that we introduce ministerial candidates to the romance of silence is most welcome.The second part of the book is entitled "The Formation of the Cleric." It brings together nine essays which explicitly explore the art of formation. The key to this section, and maybe to the whole book, is chapter 7, "Christ is the Sure Foundation: Priestly Human Formation Completed in and by Spiritual Formation." This chapter makes the case not only for the perichoresis of formational dimensions but also for a much stronger emphasis on spiritual formation than is often the case. Of special note is Keating's observation that spiritual formation can truly support human formation. This is an important insight. In his 1992 apostolic exhortation Pastores Dabo Vobis (on the formation of priests), John Paul II had articulated that human formation was "the basis of all priestly formation" (§43).Unfortunately, this line could be (and has been) interpreted problematically to mean human formation... (shrink)

Excerpt from Philosophische Anmerkungen und Abhandlungen zu Cicero's Büchern von den Pflichten 3um fiewtilc bitbbtt lann w bienen, me Qicero de n. 1. Von (einen berben großem 930rgdmern in ber ä3mbfamleit. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. (...) In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

In the framework of his transcendental philosophy, Kant strictly separates morality from aesthetics. The pleasure in the good and the pleasure in the beautiful are two different kinds of pleasure (Arten des Wohlgefallens). As a consequence, a moral act as such cannot be beautiful. It is only in a second step that Kant indicates possible connections, in his comments on aesthetic ideas, symbolism, the sensus communis, and education in general. In Confucius on the other hand we do not find such (...) a radical separation between beauty and morality. Ritual is a source of both. Moral acts can be beautiful. One might wonder whether Confucius missed a point, or whether Kant overdid the separation. Or is it that their conceptions are so fundamentally different that they cannot easily be translated and identified across different philosophical traditions? (shrink)

Rudolf Carnap’s formative years as a philosopher were his time in Jena where he studied mathematics, physics, and philosophy, among others, with Gottlob Frege, the neo-Kantian Bruno Bauch, and Herman Nohl, a pupil of Wilhelm Dilthey.2 Whereas both the influence of Frege and of the neo-Kantians is quite well known,3 the importance of the Dilthey school for Carnap’s intellectual development was recently highlighted by scholars, such as Gottfried Gabriel and Hans-Joachim Dahms.4 Although Carnap himself was interested mainly in the problems (...) of logic and the philosophy of the natural sciences, the community in which he worked until he went to Vienna in 1926 was neither a community of neo-Kantian philosophers nor of logicians or philosophers of the natural sciences but a community of members of the Dilthey school that were interested in history of philosophy ,5 pedagogic ,6 aesthetics ,7 and sociology .8 Carnap and his friends were all members of the so-called Seracircle, a group of young people that met frequently in Jena and, between 1919 and 1926, also in Carnap’s home in Buchenbach near Freiburg.9 The first version of the Aufbau was written in close connection with this group of young people that were interested in a reform of the whole society, including arts, politics, sciences, and everyday life. In Carnap’s Werkstatt in Buchenbach, the Aufbau and at least two more manifestos of a more or less philosophical nature were written: Franz Roh’s “Nach-Expressionismus” and Wilhelm Flitner’s “Laienbildung.”10 Given these historical facts, we must conclude that the Aufbau is the product of an intellectual enterprise that developed in close connection with the Dilthey school, but in which Frege and the neo-Kantians seem to have played only a small role. (shrink)

Trucage then exists when there is deceit. We may agree to use this term when the spectator ascribes to the diegesis the totality of the visual elements furnished him. In films of the fantastic, the impression of unreality is convincing only if the public has the feeling of partaking, not of some plausible illustration of a process obeying a nonhuman logic, but of a series of disquieting or "impossible" events which nevertheless unfold before him in the guise of eventlike appearances. (...) In the opposite case, the spectator undertakes a type of spontaneous sorting out of the visible material of which the filmic text is composed and ascribes only a portion of it to the diegesis. The services of the department of agriculture have worked more quickly because they were approached in an appropriate manner: this amounts to the diegesis. The film makes light of this sudden rapidity; ironically, it exaggerates it: here is the intention, which amounts to the enunciation. In the exact degree to which this perceptible bifurcation is maintained, the connotated will be unable to pass for denotated, and there is no trucage. The optical effect has not merged with the usual game of the photograms, the entire visual material has not been mistaken for the photographic, the diegetization has not been total. Christian Metz, one of the foremost French theorists of the cinema, is the author of Essais sur le signification au cinéma, Propositions méthodologiques pour l'analyse du film, and Langage et cinéma. He is Sous-Directeur d'Etudes Suppléant à l'Ecole Pratique des Hautes Etudes, Paris. This is the first English translation of "Trucage et cinéma," which appeared in Essais sur la signification au cinéma . Francoise Meltzer [the translator of this essay] is a professor of French literature and of comparative literature at the University of Chicago. She is the author of The Trial of Psychoanalysis, Salome and the Dance of Writing, and Hot Property: The Stakes and Claims of Literary Originality. Her essay, "Color as Cognition in Symbolist Verse," is published in Critical Inquiry in the Winter 1978 issue. (shrink)

This is the first study that directly links Krausism to the Spanish avant-garde. To this end, the book is presented in chronological order in efforts to highlight how Krausism evolved and affected the culture of Spain. Those changes occurred in the fields of education, politics, philosophy, literature, and arts, to name a few.

El primer capítulo del tratado Sobre lo bello inteligible (Enn. V, 8 <31>) proporciona un importante punto de partida para analizar las relaciones entre las estéticas plotiniana y platónica. Plotino plantea algunas objeciones contra el concepto tradicional de mimēsis que parecen contradecir las teorías de Platón en Resp. X. Tras una relectura de pasajes básicos de los diálogos platónicos (de República a Sofista), el ensayo regresa a las Enéadas y trata de entender las razones del «giro» plotiniano. Palabras clave: Creación; (...) Mímesis; Estética; Platón; PlotinoThe first chapter of the treatise On the intelligible Beautiful (Enn. V, 8 <31>) provides an important starting point to analyse the relations between the Plotinian and Platonic aesthetics. Against the traditional concept of mimēsis, Plotinus raises some objections that seem to contradict the theories of Plato in Resp. X. After a rereading of basic passages of the Platonic dialogues (from Republic to Sophist), the essay comes back to the Enneads and tries to understand the reasons of the Plotinian «turn». Keywords: Creation; Mimesis; Aesthetics; Plato; Plotinus. (shrink)

This article presents how the act of falling has been used as a metaphor for invention within avant-garde art and aesthetics. It takes Lars von Trier’s documentary The Five Obstacles (2003) as its point of departure and seeks to historically contextualize the figure of falling by discussing Charles Baudelaire’s essay ‘De l’essence du rire et généralement du comique dans les arts plastiques’/‘On the Essence of Laughter’ (1955 [1855–1857]). The article also discusses the fascination with falling in early cinema, stressing how (...) cinematic representations of the fall highlight the new medias potential for grasping general modern conditions like motion, speed and contingency. To think of art in terms of falling makes it possible to see a link between cinematic popular culture and so called high modernism. The article concludes with a discussion of the relationship between control and contingency within film aesthetics in the digital age. I will also discuss the aesthetics of Oulipo writers like George Perec and Raymond Queneau, and artists like Jackson Pollock and John Cage as exponents of what can be called an aesthetics of contingency. (shrink)

Troubled times often gives rise to great art that reflects those troubles. So too with political theory. The greatest work of twentieth century political theory, John Rawls's A theory of justice, was inspired in various respects by extreme social and economic inequality, racialized slavery and racial segregation in the United States. Arguably the most influential work of political theory since Rawls—Michael Walzer's Just and unjust wars—a sustained and historically informed reflection on the morality of interstate armed conflict—was written in the (...) midst of the Vietnam War. It should be no surprise, then, that the bellicose period of the past 20 years should give rise to a robust new literature in political theory on the morality of armed conflict. It has been of uneven quality, and to some extent episodic, responding to particular challenges—the increased prevalence of asymmetric warfare and the permissibility of preventive or preemptive war—that have arisen as a result of specific events. In the past decade, however, a group of philosophers has begun to pose more fundamental questions about the reigning theory of the morality of armed conflict warfare—just war theory—as formulated by Walzer and others. Jeff McMahan's concise, inventive and tightly argued work Killing in war is without doubt the most important of these challenges to the reigning theory of the just war. This review article discusses McMahan's work, some of the critical attention it has received, and its potential implications for practice. (shrink)

An essay concerning the representation of images in art, photography, and painting concerning analysis of Gerhard Richter's painting reader. It offers a debate that representation should be regarded as an act of formation and a performative concept. The author presents analysis of painting which leads the reader into the problem of painted images, such as the constitution of an image by a complex relationship among memory, reading, and blindness.

This contribution deals with Ernst Cassirer's appreciative attitude to the philosophical anthropology of his time and its self-conception. The question of the relationship between Cassirer's philosophical anthropology and his philosophy of culture with its basis in the theory of symbolism presuppose or explain one another is investigated on the basis of four critical points. The unpublished texts on the subject (ECN 6) and in particular the concluding remarks revolve around the question of the interrelationship between the biological and the symbolic (...) or cultural dimensions of human existence. The final demonstration of six possible anthropological »constants« of human existence serve to supplement the methodological discussion with substantive issues. (shrink)

More intellectual modesty, but also conceptual clarity is urgently needed in AI, perhaps more than in many other disciplines. AI research has been coined by hypes and hubris since its early beginnings in the 1950s. For instance, the Nobel laureate Herbert Simon predicted after his participation in the Dartmouth workshop that “machines will be capable, within 20 years, of doing any work that a man can do”. And expectations are in some circles still high to overblown today. This paper addresses (...) the demand for conceptual clarity and introduces precise definitions of “strong AI”, “superintelligence”, the “technological singularity”, and “artificial general intelligence” which ground in the work by the computer scientist Judea Pearl and the psychologist Howard Gardner. These clarifications allow us to embed famous arguments from the philosophy of AI in a more analytic context. (shrink)

The 1969-72 period bas shown an evolution in the belgian european policy. White instituional orthodoxy and federalist teleology had prevailed in the sixties, some pragmatism has been added since Prime minister Gaston Eyskens met President Pompidou in Paris in june 1972. Belgium accepts the launching of a cooperation among the national foreign policies outside the sphere of the EC institutions; regular summits of heads of government are also agreed on. Pragmatism doesn't weaken however the belgian concerns about orthodoxy. Belgian diplomacy (...) is claiming a twofold orthodoxy. The "de lege fata" one insists on the compliance of the institutional practises with the legal provisions of the Treaties and on the extension of the scope of the EC policies by using the faculty provided by art. 235 EC. The constant refusal of the so called "compromis de Luxembourg" and the recurrent plea for the qualified majority voting, or the emphasis put on the powers of the Commission illustrate this kind of orthodoxy. The "de lege ferenda" orthodoxy consists of preventing institutional evolutions from closing the road to the long term federalist aims belgian diplomacy is still working towards for European integration. Hence some dilemmas between pragmatism on short term issues and some dogmatic rigidities which refer to the federalist finality. The discussion about twofold orthodoxy is grounded on a belgian positions' analysis on european affairs which covers the period from the end of the sixties to the belgian positions at the 1996 IGC. By the future perspective of a broader EU enlargement, Belgium will also face a new challenge: will its relative political weight be decreasing in the same time theUnion will extend? Which will be the price for accepting less Belgium in a larger Union? (shrink)

The essay draws on Paul Valéry’s motif of the »white thing« young Socrates finds on the beach, taking it as a paradigmatic description of the objects of art. It conceptualizes these as transitory objects in the sense of Donald Winnicott’s psychoanalytic theory which stresses their undecidability concerning their status as being inside or outside, real or imaginary. This does not entail a fixation on works nor their – theoretical or practical – rejection. The transitoriness of art is pursued from its (...) realization within reception through the transition between simultaneity and succession, the objects’ indeletable relations to other spheres within and outside the world of art, and the blurring of borders between different art genres, eventually turning to explicit interventions into other contexts. Finally, undecidability is posited even concerning the difference between culture and nature. (shrink)

The essay discusses the claim and the attempt to theoretically grasp the entire artistic production of the present, the possibility of which is suggested by a philosophical concept of art in the singular. On the basis of Umberto Eco’s reconceptualization of the code of a language as a heuristic fiction, it analyzes various attempts of mapping and categorizing certain historic developments and fields in the arts and contemporary attempts of writing a global history of art and music, respectively. Finally, it (...) turns to theoretical projects that claim to be able to capture the heterogeneous field of contemporary art. Even though there is a fundamental difference between encyclopedic and clearly normative approaches, any totalization must be recognized as situated. In this sense, it is a speculative fiction that may be productive but is in danger of becoming ideologic if this situatedness is forgotten or obscured. (shrink)

Excerpt from Uebersicht ber das Aristotelische Lehrgeb ude und Er rterung der Lehren Seiner N chsten Nachfolger: Als Uebergang zur Dritten Entwickelungsperiode der Griechischen Philosophie Sci) bergebe hie $erbattnifie 111e cbe hie @d einnng biefe8 %anbe8 meiner (R)efcbicbte n1eljr brei Sabre lang ber3ogert haben; bie @1'm bnnng befiel en m rbe mir fcbn1er3; I11I) unb fiir ben 8efer ohne 8'nterefie fein. S'huen finh fie befannt nnb (c)ie werben ben (c)pnren ber (R)tin1n1nngen, 111 Innen MB 931119 gefcf;rieben ift, 351e 9tacbficbt nicht (...) verfagen. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)