Der Beitrag geht der Frage nach, ob zwei plus zwei immer vier ergibt oder ob auch ein anderes Ergebnis möglich ist. Anlass ist die theologische Debatte über das Problem, ob ein allmächtiger Gott logisch unmögliche Dinge tun kann.

In a time of political, epistemic and aesthetic revolutions, early 18th-century Britain saw the emergence of a public discourse of common sense which had a lasting influence on cliched concepts of cultural identity. By retracing the compensatory impulses of common sense discourse and highlighting the role of literary texts in its formation and dissemination, this study challenges the received view of Augustan England as a mere Age of Reason.".

Science has not only produced a vast amount of knowledge about a wide range of phenomena, it has also enhanced our understanding of these phenomena. Indeed, understanding can be regarded as one of the central aims of science. But what exactly is it to understand phenomena scientifically, and how can scientific understanding be achieved? What is the difference between scientific knowledge and scientific understanding? These questions are hotly debated in contemporary epistemology and philosophy of science. While philosophers have long regarded (...) understanding as a merely subjective and psychological notion that is irrelevant from an epistemological perspective, nowadays many of them acknowledge that a philosophical account of science and its aims should include an analysis of the nature of understanding. This chapter reviews the current debate on scientific understanding. It presents the main philosophical accounts of scientific understanding and discusses topical issues such as the relation between understanding, truth and knowledge, the phenomenology of understanding, and the role of understanding in scientific progress. (shrink)

Nowadays there are many spaces of fascination in visual art. Of course, installative space and contextual space have been on the art scene for awhile. However, they are now accompanied by other spaces such as urban space, architectural space, cyberspace, hyperspace, and screen-based space. In this volume, architects, artists, theorists, three symposia and four exhibitions attempt to find answers to questions such as: Could the architectonic study and/or deconstruction of space play a decisive role in the shift of attention to (...) space? Which theoretical factors structure the current experience and meaning of space? What is the role of the aesthetization of the environment on our concept of space? Smooth Space - VCC de Brakke Grond, Amsterdam - is a project at the heart of this publication. Spatial interests range from how the concept of space is redefined and exploited in our current visual culture to how the digital world influences our spatial concepts. Participants in this issue are: Jean Attali, Annette W. Balkema, Andrew Benjamin, Ole Bouman, Bernard Cache, Paul Crowther, Christoph Fink, Hugo Heyrman, Hou Hanru, Rem Koolhaas, Geert Lovink, Karlheinz Lüdeking, Bartomeu Mari, Kas Oosterhuis, Jan van de Pavert, Keiko Sato, Eran Schaerf, Lara Schnitger, Roger Scruton, Martin Seel, Nasrine Seraji, Henk Slager, Sjoerd Soeters, Lars Spuybroek, Ann Van Sevenant, Peter Weibel and Mark Wigley. (shrink)

Middle age, for many, marks a key period for a radical reappraisal of one's life and way of living. The sense of time running out, both from the perspective that one's life has ground to a halt, and from the point of view of the greater closeness of death, and the sense of loneliness engendered by the compromised and wasteful nature of life, become ever clearer in mid-life, and can lead to a period of dramatic self doubt.In this book, the (...) philosopher Christopher Hamilton explores the moods, emotions and experiences of middle age in the contemporary world, seeking to describe and analyze that period of life philosophically. Hamilton draws on his own personal experiences of turning 40 as well as a wide range of sources - from the philosophical writings of Schopenhauer, Nietzsche, Hegel, Heidegger to the literature of Tolstoy, Dostoevsky, Conrad and the films of Woody Allen - to offer us a philosophy of middle age.Some of the many fascinating themes explored include the strong sense of nostalgia experienced in mid-life, of loss for one's youth, and of regret, the sense that life has become boring, the recognition that one can never fully escape feelings of guilt, and - central to the experience of middle age - the question of what is the point of going on at all. In the light of the 'melancholy wisdom' of mid-life Hamilton suggests that pleasure becomes much more important than at previous stages of life and he shows that the enjoyment of pleasure can be something noble.Insightful, entertaining, and thought-provoking, "Middle Age" is fascinating reading and for anyone heading for a 'mid-life crisis' it is much cheaper than buying a sports car. (shrink)

Middle age, for many, marks a key period for a radical reappraisal of one's life and way of living. The sense of time running out, both from the perspective that one's life has ground to a halt, and from the point of view of the greater closeness of death, and the sense of loneliness engendered by the compromised and wasteful nature of life, become ever clearer in mid-life, and can lead to a period of dramatic self doubt.In this book, the (...) philosopher Christopher Hamilton explores the moods, emotions and experiences of middle age in the contemporary world, seeking to describe and analyze that period of life philosophically. Hamilton draws on his own personal experiences of turning 40 as well as a wide range of sources - from the philosophical writings of Schopenhauer, Nietzsche, Hegel, Heidegger to the literature of Tolstoy, Dostoevsky, Conrad and the films of Woody Allen - to offer us a philosophy of middle age.Some of the many fascinating themes explored include the strong sense of nostalgia experienced in mid-life, of loss for one's youth, and of regret, the sense that life has become boring, the recognition that one can never fully escape feelings of guilt, and - central to the experience of middle age - the question of what is the point of going on at all. In the light of the 'melancholy wisdom' of mid-life Hamilton suggests that pleasure becomes much more important than at previous stages of life and he shows that the enjoyment of pleasure can be something noble.Insightful, entertaining, and thought-provoking, "Middle Age" is fascinating reading and for anyone heading for a 'mid-life crisis' it is much cheaper than buying a sports car. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 19-30 [Access article in PDF] Bugged Out:A Reflection on Art Experience Christopher Perricone I used to enjoy art. Not all the arts equally. Overall literature spoke to me most clearly. I am not sure exactly why. I guess some combination of inborn and learned dispositions. Whatever is the case, my enjoyment of literature always seemed natural to me, since literature was of (...) a medium I already knew, the vocabulary and grammar of my own language. But I enjoyed paintings and musical pieces as well, some of which I shall never forget even though they have virtually faded from my life, from what I have become.I cannot say that I ever had a favorite artwork. I have always thought the idea foolish, reminiscent of children who think often in terms of favorites, whether colors, candies, or friends. However, there are some works that do stand out in memory, even though, as I say, I cannot bring myself to enjoy them now. They are ghosts whose forms are discernible, but whose flesh is long gone.I had read lots of literature. I even enjoyed the act and the atmosphere of reading. I remember the chair I sat in, the lighting, the room. I also used to love to wake up on weekends, eat a leisurely breakfast, and then get back into bed and read until noon. Of course the setting itself of reading was ultimately not crucial, it was merely a pleasant means of facilitating one's excursion into another world. It was the other world that counted. So many worlds. Of course, I entered joyfully the worlds of Shakespeare and Dante, which Harold Bloom recently has judged at the center of the Western canon, but I entered also lesser but personally not less significant worlds to which I was drawn. 1 I needed some tutoring in Shakespeare and Dante because they did not quite speak my language, my twentieth-century American tongue. I had trouble negotiating their worlds. However, I had none whatsoever when it came to the worlds of James Joyce, Wallace Stevens, William Carlos Williams, Graham Greene, Walt Whitman, T.S.Eliot, Herman Melville, Emily Dickinson, or Joseph Conrad. I was at home in these worlds, different [End Page 19] worlds, but nonetheless home. I loved Conrad's the "Heart of Darkness." For me this was one of the truly haunting tales. After my first reading of the "Heart of Darkness," I can honestly say, my life was changed. I neither talked nor walked the same. I moved among and around people and things differently. I saw myself differently both among others and when I would stand before my mirror alone. And subsequent readings brought about further changes, changes of my comportment in the world. I imagined that I saw, heard, touched, tasted, and smelled the details from the beginning of that story to its very end. I sat on the deck of the Nellie with Marlow, Conrad's character narrator, and his listeners. I watched with them as the sun went down over the Thames. I followed Marlow as he told the story of how he had "set off for the center of the earth," up the Congo perhaps where in his mind all human life had its source; how as he came closer to the center facts became less straightforward, the greed for ivory, the "flavor of mortality in lies," the hollowness of Mr. Kurtz, the final horror of it all. I sweated in the heat of the "Heart of Darkness." Like any experience of a masterpiece, the "Heart of Darkness" was a visceral experience for me. After such experiences one feels emotionally and physically drained. One feels comfort in thinking, as with a dream, it was not real. And yet there is a lingering discomfort: as it were no mere fantasy at all.I often had feelings of the same intensity and profundity in respect to painting and music. They, too, were worlds for me. I enjoyed the varioustouches of the painters. In particular, I enjoyed the gold, the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 19-30 [Access article in PDF] Bugged Out:A Reflection on Art Experience Christopher Perricone I used to enjoy art. Not all the arts equally. Overall literature spoke to me most clearly. I am not sure exactly why. I guess some combination of inborn and learned dispositions. Whatever is the case, my enjoyment of literature always seemed natural to me, since literature was of (...) a medium I already knew, the vocabulary and grammar of my own language. But I enjoyed paintings and musical pieces as well, some of which I shall never forget even though they have virtually faded from my life, from what I have become.I cannot say that I ever had a favorite artwork. I have always thought the idea foolish, reminiscent of children who think often in terms of favorites, whether colors, candies, or friends. However, there are some works that do stand out in memory, even though, as I say, I cannot bring myself to enjoy them now. They are ghosts whose forms are discernible, but whose flesh is long gone.I had read lots of literature. I even enjoyed the act and the atmosphere of reading. I remember the chair I sat in, the lighting, the room. I also used to love to wake up on weekends, eat a leisurely breakfast, and then get back into bed and read until noon. Of course the setting itself of reading was ultimately not crucial, it was merely a pleasant means of facilitating one's excursion into another world. It was the other world that counted. So many worlds. Of course, I entered joyfully the worlds of Shakespeare and Dante, which Harold Bloom recently has judged at the center of the Western canon, but I entered also lesser but personally not less significant worlds to which I was drawn. 1 I needed some tutoring in Shakespeare and Dante because they did not quite speak my language, my twentieth-century American tongue. I had trouble negotiating their worlds. However, I had none whatsoever when it came to the worlds of James Joyce, Wallace Stevens, William Carlos Williams, Graham Greene, Walt Whitman, T.S.Eliot, Herman Melville, Emily Dickinson, or Joseph Conrad. I was at home in these worlds, different [End Page 19] worlds, but nonetheless home. I loved Conrad's the "Heart of Darkness." For me this was one of the truly haunting tales. After my first reading of the "Heart of Darkness," I can honestly say, my life was changed. I neither talked nor walked the same. I moved among and around people and things differently. I saw myself differently both among others and when I would stand before my mirror alone. And subsequent readings brought about further changes, changes of my comportment in the world. I imagined that I saw, heard, touched, tasted, and smelled the details from the beginning of that story to its very end. I sat on the deck of the Nellie with Marlow, Conrad's character narrator, and his listeners. I watched with them as the sun went down over the Thames. I followed Marlow as he told the story of how he had "set off for the center of the earth," up the Congo perhaps where in his mind all human life had its source; how as he came closer to the center facts became less straightforward, the greed for ivory, the "flavor of mortality in lies," the hollowness of Mr. Kurtz, the final horror of it all. I sweated in the heat of the "Heart of Darkness." Like any experience of a masterpiece, the "Heart of Darkness" was a visceral experience for me. After such experiences one feels emotionally and physically drained. One feels comfort in thinking, as with a dream, it was not real. And yet there is a lingering discomfort: as it were no mere fantasy at all.I often had feelings of the same intensity and profundity in respect to painting and music. They, too, were worlds for me. I enjoyed the varioustouches of the painters. In particular, I enjoyed the gold, the... (shrink)

Drawing upon core phenomenological contributions of the last decades, the present paper provides an integrated description of the development of auditory hallucinations in schizophrenia. Specifically, these contributions are the transitional sequences of development of psychotic symptoms of schizophrenia as envisioned by Klosterkötter and rooted in the basic symptoms approach, Conrad’s Gestalt-analysis of developing psychosis, and Sass and Parnas’ self-disturbance approach. Klosterkötter’s contribution provides a general descriptive psychopathological approach to the transitional sequence of the development of auditory hallucinations. The key (...) concepts in Conrad’s proposal are discussed, as their role is central as driving forces of the process from non-psychotic symptoms to overt hallucinations. Finally, Parnas and Sass link psychiatry to philosophy and psychology, and provide an in-depth and thorough description of these phenomena in their work on schizophrenia as a disorder of consciousness and self-experience with hyper-reflexivity and diminished self-affection as key aspects. (shrink)

Christoph Otto von Schönaich hatte im März 1751 sein Epos Hermann, oder das befreyte Deutschland an Gottsched geschickt. Schönaichs Briefe des Bandes 17 dokumentieren Gottscheds intensive Beschäftigung mit dem Werk, das im September 1751 der Öffentlichkeit mit Gottscheds Einleitung als Nationalepos präsentiert wurde. Als Ratgeber oder Publizist unterstützte Gottsched auch weitere literarische Aktivitäten, so verdankt sich die erste deutsche Ausgabe der Satiren Antioch Dmitrijewitsch Kantemirs einer Anregung Gottscheds. Briefe aus Potsdam informieren über Publikationsvorhaben Julien Offray de La Mettries und (...) anderer Personen im Umfeld des preußischen Hofes. Eine Übersetzung der Poetik des Aristoteles hatte Gottsched 1730 mehrfach in Aussicht gestellt. Nach dessen höflicher Anfrage über den Stand der Dinge begrüßte Gottsched die Übersetzung, die Michael Conrad Curtius fertiggestellt hatte, wenn die Veröffentlichung auch erst 1753 gelang. Der Zürich-Leipziger Literaturstreit findet in mehreren Briefen Ausdruck. So ist einem Bericht des Schleusinger Rektors Johann Heinrich Hausmann zu entnehmen, dass kontroverse Debatten über Klopstocks Messias auch auf gymnasialer Ebene ausgetragen werden. Franz Ignaz (Gregorius) Rothfischer ist erstmals mit einem Brief vertreten, den er noch als Benediktiner unterzeichnet, während Briefe anderer Absender schon den spektakulären Konfessionswechsel erahnen lassen, dessen Vollzug in Leipzig im November 1751 die Öffentlichkeit bewegt. (shrink)

Was ist der Mensch? Das ist eine der "großen" philosophischen Fragen, und immer wieder werden bei der Beantwortung dieser Frage antike Denker zitiert. Das vorliegende Buch ist die erste Gesamtdarstellung des anthropologischen Denkens in der Antike. In fünfzehn Beiträgen behandelt der Band alle wichtigen antiken Philosophen und Philosophenschulen, von den Vorsokratikern bis zu Augustinus. Bewusst schaut der Band dabei über die Grenzen dessen hinaus, was wir heute "Philosophie" nennen, und wendet sich auch Denkern aus den Gebieten der antiken Literatur, Theologie (...) und Medizin zu. Der Band richtet sich an Philosophen und Altphilologen ebenso wie Historiker und Theologen. Die Beiträge eignen sich auch als Einführung in die jeweiligen Autoren und Schulen für Studierende und interessierte Leser aus anderen Disziplinen. Speziell für diesen Leserkreis liefern die Beiträge Hinweise für die weitere Lektüre. (publisher) -/- Mit Beiträgen von Ursula Bittrich, Yves Bossart, Jan N. Bremmer, Thomas Buchheim, Christoph Horn, Ludger Jansen, Christoph Jedan, Geurt Henk van Kooten, Zbigniew Nerczuk, Matthias Perkams, Joachim Söder, Niko Strobach, Hartmut Westermann und Jula Wildberger. (shrink)

Three experiments examined whether the mere priming of potential action effects enhances people’s feeling of causing these effects when they occur. In a computer task, participants and the computer independently moved a rapidly moving square on a display. Participants had to press a key, thereby stopping the movement. However, the participant or the computer could have caused the square to stop on the observed position, and accordingly, the stopped position of the square could be conceived of as the potential effect (...) resulting from participants’ action of pressing the stop key. The location of this position was primed or not just before participants had to stop the movement. Results showed that priming of the position enhanced experienced authorship of stopping the square. Additional experimentation demonstrated that this priming of agency was not mediated by the goal or intention to produce the effect. (shrink)

Fiction and truth : ancient stories about Pythagoras -- In search of the historical Pythagoras -- The Pythagorean secret society -- Thinkers influenced by Pythagoras and his pupils.

This book shows quantum learning is the resource that unites parts into wholes and then wholes into continually larger wholes. Just as quantum computers can regard sub-atomic particles as a wave and as particles, quantum learning can understand learners as simultaneously nondual (whole) and dual (part). The study includes a reconsideration of clarity in expression and thought.

In the first part of the paper, factual information is given about developments in European business ethics since it started on a more or less institutionalized basis, five or six years ago. In the second part some comments are presented on the meaning of the developments and the possible causes. Attention is given to resemblances and differences between American and European business ethics. In the short last part some suggestions are proposed about tasks business ethics will face in the next (...) decade. (shrink)

(No abstract is available for this citation).

Suppose we believe that God created the world. Then surely we want it to be the case that he intended, in some sense at least, to create THIS world. Moreover, most theists want to hold that God didn't just guess or hope that the world would take one course or another; rather, he KNEW precisely what was going to take place in the world he planned to create. In particular, of each person P, God knew that P was to exist. (...) Call this the "standard" conception. Most theists find the standard conception appealing. Unfortunately, the view seems to conflict with the equally appealing idea — call it "temporal actualism" — that there are no "future" individuals beyond those that already exist in the present moment. For, on this view, for any historical person P, prior to creation, there was no such person as P and hence nothing about P for God to know. Hence, in particular, God couldn't have known that P was to exist. This is of course not a new problem. But past solutions to it are highly problematic. In this paper, after canvassing previous approaches, I will propose a solution that seems to preserve both temporal actualism and a suitably robust form of the standard conception while avoiding the pitfalls of the past. (shrink)

In this paper we have two aims: first, to draw attention to the close connexion between interpretation and scientific understanding; second, to give a detailed account of how theories without a spacetime can be interpreted, and so of how they can be understood. In order to do so, we of course need an account of what is meant by a theory ‘without a spacetime’: which we also provide in this paper. We describe three tools, used by physicists, aimed at constructing (...) interpretations which are adequate for the goal of understanding. We analyse examples from high-energy physics illustrating how physicists use these tools to construct interpretations and thereby attain understanding. The examples are: the ’t Hooft approximation of gauge theories, random matrix models, causal sets, loop quantum gravity, and group field theory. (shrink)

In der Geschichte des Wiener Kreises lässt sich eine private und eine öffentliche Phase unterscheiden. Die private Phase ist 1929 zu Ende. Im Sommer dieses Jahres beschliessen die Mitglieder mit ihrer Philosophie der wissenschaftlichen Weltauffassung vor die Öffentlichkeit zu treten.

The rise of the mechanistic worldview in the seventeenth century had a major impact on views of biological generation. Many seventeenth century naturalists rejected the old animist thesis. However, the alternative view of gradual mechanistic formation in embryology didn’t convince either. How to articulate the peculiarity of life? Researchers in the seventeenth century proposed both “animist” and mechanistic theories of life. In the eighteenth century again a controversy in biology arose regarding the explanation of generation. Some adhered to the view (...) that life is a physical property of matter (e.g. Buffon), others saw living entities as the result of the development of pre-existing germs (e.g. Bonnet). Naturalists, lacked a convincing account that could guide their research. In interaction with leading naturalists of his time Immanuel Kant articulated an approach to explaining generation. Kant’s account, delineated in his Kritik der Urteilskraft (Critique of the power of judgment) (1790), is a combination of Newtonian non-reductionist mechanism in explanation, and a concept of natural end comparable to Stahl’s formal conception of organic bodies. It consists of two claims: a) in biology only mechanical explanation is explanatory, and b) living entities contain some original organisation, which is mechanically unexplainable. In the nineteenth century this approach influenced naturalists as Müller, Virchow, and Von Baer, in their physiological research. Dissatisfied with a sheer mechanistic or, on the other hand, a sheer teleological approach, they appreciated the Kantian account of mechanical explanation of natural ends. In Germany, in the second halve of the nineteenth century, Ernst Haeckel reopened the debate about abiogenesis, which still continuous. (shrink)

This volume presents chapters from internationally renowned scholars in the area of goals and social behavior.

The paper is replaced by a new version (12-2019): DOI: 10.5281/zenodo.3572846 -/- Physical phenomena emerge from the quantum fields everywhere in space. However, not only the phenomena emerge from the quantum fields, the law of the conservation of energy must have its origin from the same spatial structure. This paper describes the relations between the main law of physics and the mathematical structure of the “aggregated” quantum fields.

This study is an archeological investigation into the historically changing relationship between words and images. The result is an encyclopedia of interpretative techniques in which language functions as a model of thought. Three periods come to the fore. In the classical one, grammatical structures are responsible for the dominance of describing and identifying activities. Thought about art departs from the idea, that classificatory systems represent images. _Art criticism_ is the form of interpretation in this period. In the modern period time (...) moves to the foreground. Now attention is focused on changes in grammatical forms instead of changes in constant structures. A hermeneutic form of interpretation comes into being: _Art History_. In the postmodern period one realizes that words fail to establish a consistent relationship with visuality. New, semiological theories of interpretation now explain what images can signify. This volume is of interest for philosophers of art and art theoreticians, as well as for students and professionals in both fields. (shrink)