The existence and uniqueness of a maximum point for a continuous real—valued function on a metric space are investigated constructively. In particular, it is shown, in the spirit of reverse mathematics, that a natural unique existence theorem is equivalent to the fan theorem.

Dini's theorem says that compactness of the domain, a metric space, ensures the uniform convergence of every simply convergent monotone sequence of real-valued continuous functions whose limit is continuous. By showing that Dini's theorem is equivalent to Brouwer's fan theorem for detachable bars, we provide Dini's theorem with a classification in the recently established constructive reverse mathematics propagated by Ishihara. As a complement, Dini's theorem is proved to be equivalent to the analogue of the fan theorem, weak König's lemma, in (...) the original classical setting of reverse mathematics started by Friedman and Simpson. (shrink)

This article wants to answer three questions: first, why is not only sensibility but visibility important for modern democracy? Second, why is art or aesthetic experience important for both democracy and visibility? And third, how is it possible that aesthetic experience generates effects that conduce to democracy? Answering these questions aims at highlighting an inner connection between democracy, feelings and aesthetics. For a democratic community, on the one hand, cannot exclude feelings from political discourse, but, on the other hand, cannot (...) accept them in their immediate and absolute form. Feelings need ‘transformation’, and the best popular medium for this is aesthetic experience. (shrink)

The question ‘What is death?’ is by no means exclusively or primarily a question of medical science. It is, in the last analysis, a philosophical question. The philosopher’s role in the discussion of death is twofold: On the one hand, he has to explore those highly intelligible and essentially necessary aspects of death which no other human science investigates. This task includes a phenomenology of life and death, an ontology and metaphysics, as well as a philosophical anthropology of death. It (...) likewise includes an analysis of the language of death and life and of the logical structure of the arguments used in the debates about life and death. On the other hand the philosopher has to warn representatives of other disciplines against concluding too much from the little they know and extending their methods to areas where they are not appropriate. Careful reflection on both philosophical knowledge and philosophical ignorance concerning death shows, I shall argue, that the definition of death in terms of ‘brain death’ ought to be rejected. (shrink)

We introduce a particular way of drawing the distinction between the use of theory and simulation in the prediction of people's decisions and describe an empirical method to test whether theory or simulation is used in a particular case. We demonstrate this method with two effects of decision making involving the choice between a safe option (take amount X) and a risky option (take double the amount X with probability 1/2). People's predictions of choice frequencies for trivial (€ 0.75) as (...) opposed to substantial (€ 18) amounts in Experiment 1 are quite accurate when they are presented with both conditions juxtaposed but are less accurate when only given one of the conditions. This result is interpreted to speak for the use of theory in prediction. In contrast people's predictions of the framing effect for substantial amounts (more risk seeking for positively than negatively framed problems) are accurate only for independent predictions but not for juxtaposed predictions, which speaks for the use of simulation. (shrink)

It is well known that Maimonides rejects the Kalam argument for the existence of God because it assumes the temporal creation of the world, a premise for which he says there is no 1 By contrast, he claims to establish belief in the existence of God (I:71:182). Taken at his word, Maimonidess five ways, have traditionally been read as models of medieval natural theology: of the power of human reason to independently establish revealed truth. In recent years, however, the same (...) demonstrations have assumed a second kind of significance. For scholars, like myself, who argue that Maimonides holds severe views about the limitations of human knowledge of divine science and metaphysics, these demonstrations are the strongest conceivable counterevidence. 2 If Maimonides really held that humans cannot apprehend metaphysical truths about the deity, how could he have demonstrated (or even thought he could demonstrate) the existence of God? If he does demonstrate it, then humans evidently do have knowledge of metaphysics. As one distinguished scholar has recently protested, it is nothing less than to interpret Maimonides as 3. (shrink)

This study shows how St. Augustine of Hippo in his works on grace identifies the concepts of intellect and grace. It recommends this concept of "intellectus gratiae" as a key to Augustine's theology as a whole.

The text presents the general cultural-historical thesis that one cannot adequately understand philosophy after the Second World War if one does not understand it in interaction with politics and popular culture. These three spheres find themselves in a variable triangular constellation after the Second World War. Methodologically, the text is guided by the fact that this interplay is also organised in a triangular and variable way, namely according to the options of coexistence, conflict and cooperation. Adorno’s philosophy serves as a (...) challenging example. The principle of coexistence, conflict and cooperation also serves as a framework for the second part of the text, which reformulates Adorno’s socio-critical question about the possibility of change as an ontological question. In the constellation with politics, pop music can in this context express in its own way what in philosophy is called the principle of ontological contingency. (shrink)

Following Hegel's remark that art is a “thousand-eyed Argos,” one can formulate the assumption that under contemporary conditions art and surveillance state do not necessarily exclude, but reflect each other. The film minority report as popular art offers a visual self-reflection on this proposition. The central question is whether and to what extend this film performs a legitimization or delegitimization of the normative order.

At first trust plays a fundamental role within the social sphere. Accordingly, trust serves as philosophical term above all in Political, Social, and Moral Philosophy. But it is also central in recent Sociology and Psychology. Referring to these disciplines, the relationship of trust be- tween viewer and hero on the screen can be called ›parasocial‹, as-if-interaction. In contrast, ontological trust is of particular interest for recent philosophy of film. Instead of explaining it, following Deleuze, in terms of a metaphysics of (...) cinema it seems to be more adequate to com- bine the different subject-specific answers in Kant’s concept of play. Aesthetic experiences then are encouraging us in the attitude to act as if there could be trust in the world. (shrink)

Der Ausdruck Phänomenologie ist heute höchst vieldeutig geworden. Husserl hat seit 1905 eine immer stärkere Wendung zum Idealismus kantischer Prägung hin vollzogen, durch die er den Boden der Phänomenologie, wie er sie begründet hatte, verlassen hat. Eine ähnliche Abweichung von der ursprünglichen Idee der Phänomenologie findet sich bei vielen anderen "Phänomenologen." Die "realistische Phänomenologie", deren Vorläufer von Platon an und Klassiker von Husserl bis Schwarz in dieser ersten umfangreichen deutschsprachigen Anthologie zu Wort kommen, ist kein System, sondern eine Anwendung der (...) philosophischen Urmethoden, wie sie alle großen Philosophen tatsächlich anwandten, wenn sie ihre entscheidenden Entdeckungen machten. Mögen auch von Philosophen generell andere Methoden bewußt zugrunde gelegt werden, in dem Moment, in dem diese Einsichten gewonnen werden, liegt tatsächlich zu allen Zeiten jener letzte, fruchtbare Kontakt mit "den Sachen selbst" vor, der den Sinn der phänomenologischen Methode ausmacht, wie sie von den Meistern der realistischen Phänomenologie nur bewußter und systematischer angewandt wird als von vielen früheren Denkern. Nichts wäre darum irriger als in der phänomenologischen Betrachtungsweise eine Reduktion der Welt auf bloße "Phänomene" zu erblicken oder gar eine bloße Deskription der "Erscheinung" der Dinge. Zwischen phänomenologischer Betrachtungsweise und metaphysischer Wesensanalyse besteht kein Unterschied oder gar Gegensatz. (shrink)

Concerning artistic research, the state of affairs is still one of delusions and confusions. The reason for this is the pluralization and dedifferentiation of rationality pushed forward by the postmodern period. The way out of it is the way of differentiations. Thus, it seems helpful, first, to remember what we already have in philosophical aesthetics, namely four basic models of art and knowledge. The question, then, is whether artistic research fits into these models. To my mind, it does – though (...) in a new way. Secondly, it is helpful to have a short sober sociological look at the situation. Finally, we have to ask the question about the kind of research that is at stake in artistic research. Here, the meaning of non-propositional knowledge and Kant’s idea of an as-if-knowledge is useful. All in all, artistic research still fails in giving a sufficient explanation of itself. (shrink)

The Art of a Democracy of Emotions There is a long discussion in philosophy about the relationship between reason, emotions and politics. Today the adequate question is not whether, but to what extent and in which sense emotions normatively have to play a role in democracy. My first thesis is that there are three central answers to that question which can be brought down to the nominators ‘presentation’, ‘compensation’ and ‘transformation’. Within a political context, emotions ask for a contemporary form (...) of presentation, for a tempering or balancing compensation, and for a meaningful transformation. And my second thesis is that this threefold reaction can be achieved either with the aid of, or even in an excellent way by, aesthetic experiences. In detail I focus on a brief analysis of the modern political meaning of impertinence; the current situation concerning the philosophical discussion on democracy, emotions and aesthetics (with an accent on Martha Nussbaum); and finally on my own suggestion, supported by I. Kant and J. Dewey, concerning the concept of aesthetic experience. (shrink)

Ever since ›Die Kunst der Entzweiung‹, one can detect a certain Lubitsch touch at work in Martin Seel’s books: subtlety, wit, finesse, elegance, nonchalance. In a general typology that tentatively orders philosophy in its relation to comedy, Seel accordingly belongs to the wellknown type of irony and humour. However, this type can only show its strength when it absorbs the unsettling intensity of experiences and the sting of indissoluble opposites, a synthesis for which Billy Wilder stands cinematically.

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