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)

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)

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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Gilles Deleuze and belief in the world -- A struggle against oneself: cinema as technology of the self -- The evidence of film and the presence of the world: Jean-Luc Nancy's cineastic ontology -- Cinema as human art: rescuing aura in gesture -- Exhibiting or presenting?: politics, aesthetics and mysticism in Benjamin's and Deleuze's concepts of cinema -- Made and yet true: on the aesthetics of presence of the heroic -- An art of gesture: returning narrative and movement to images (...) -- It is if we could trust: fiction and aesthetics of the political -- All you need is love: Cavell and the comedy of remarriage of film and philosophy. (shrink)

The book represents a historical overview of the way the topic of gesture and sign language has been treated in the 18th century French philosophy. The texts treated are grouped into several categories based on the view they present of deafness and gesture. While some of those texts obviously view deafness and sign language in negative terms, i.e. as deficiency, others present deafness essentially as difference, i.e. as a set of competences that might provide some insights into how spoken language (...) works. One of the arguments of the book is that these two views of deafness and sign language still represent two dominant paradigms present in the current debates on the issue. The aim of the book, therefore, is not only to provide a historical overview but to trace what might be called a "history of the present". (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)

Evolution is a time process. It proceeds in steps of definite length. The probability of each step is relatively high, so self organization of complex systems will be possible in finite time. Prerequisite for such a process is a selection rule, which certainly exists in evolution. Therefore, it would be wrong to calculate the probability of the formation of a complex system solely on the basis of the number of its components and as a momentary event.

La cuestión de cuántas categorías hay y cuáles son depende de otra más esencial, la de saber cuál es la naturaleza de las categorías. A su vez, la respuesta a esta cuestión exige distinguir con claridad las categorías ontológicas de los transcendentales, de los modos de ser y de las categorías lógicas y las lingüísticas. Solo tras haber trazado estas distinciones, el autor esboza una respuesta a la pregunta de cuál es el número de las categorías.