In this contribution, I will argue for an ontological understanding of time as temporality. This, however, implies that in a certain sense being is temporality, by which I mean that on an ontological level temporality is nothing but the process of change, i.e. the dynamic aspect of being in its becoming, changing, and perishing, and that concrete beings are not merely in time, but they are temporal. This leads to the conclusion that actual time is the process of change that (...) becoming beings are, as well as the conclusion that reality is fundamentally temporal as argued by process metaphysicians like Alfred North Whitehead, Henri Bergson, Martin Heidegger, and Gilles Deleuze. The investigation begins with first establishing the methodological difficulties involved in thinking temporality as an ontological feature. In a second step, dynamic ontologies are introduced as the conceptual background best suited to think ontological temporality and their difference to event-ontologies is explained. Finally, the distinction between temporality and linear time is clarified. This introduction of temporality ends with some arguments for the existence of temporality that are inspired by Aristotle’s famous investigations into the nature of time. After having thus introduced temporality as an ontological feature and argued for the existence and relevance of it, its implications for our understanding of the dimensions of time and especially for anticipation are discussed. (shrink)

This paper investigates the correlation of Thinking, as understood by Martin Heidegger, and his concept of Thing.

Ausgehend von der immer wieder bemühten Metapher des Black CNN wird versucht, das Potenzial der musikalischen Ausdrucksform des HipHop als Kommunikationsstruktur der Schwarzen Minderheit in den USA zu analysieren. Nach einer historisch-kulturellen Erläuterung, die sich mit der Tradition der Reflektion sozialer und politischer Aspekte in den unterschiedlichen musikalischen Äußerungen der Schwarzen Volksgruppe in den USA beschäftigt und schon ansatzweise die Bedeutung dieser Ausdrucksmöglichkeit im Kontext eines internal colonialsm vor Augen führt, werden jene soziodemographischen Entwicklungen nachvollziehbar gemacht, die sich als zentraler (...) Kritikpunkt in den verbalen Artikulationen des HipHop widerspiegeln. Vor dem theoretischem Hintergrund von cultural citizenship - ein Konzept zur Bestimmung kultureller Teilhabe in der Mediengesellschaft -, werden 25 Textbeispiele, die sich auf HipHop- Veröffentlichungen von 1982 bis 2004 finden, auf ihre Übereinstimmung mit Indikatoren untersucht, die sich aus, den Medien zugeschriebenen, politischen und sozialen Funktionen ableiten lassen. Overseen by Scott La Rock... (shrink)

The notion that it is possible to construct intelligent machines out of nonorganic material is as old as Greek mythology. Vulcan, the lame god of fire, fabricated young women out of gold to assist him in his labours. He also made the bronze giant Talus, who guarded the island of Crete by running around it three times a day and heaving huge rocks at enemy ships. A single vein of ichor ran from Talus's neck to his heels. He bled to (...) death when he was wounded in the ankle or, according to another myth, when a brass pin in his heel was removed. (shrink)

This article analyses the sign systems or semiotic models that make up the meaning of a double face or mask drawing in the pre-Columbian rock art of Colombia, also discussing two human figures with depicted faces associated with the main picture. The sample of rock art was detected on the walls of the Chicamocha Canyon at the Mirador de Barcenas site in the Santander Department in Northeast Colombia. Its origin is attributed to the Guane chiefdom. We hold as (...) a central argument that this face and its gestures were part of a sign system or visual semiosphere that spread along the banks of the Chicamocha Canyon. However, the image shared some semiotic models and visual communication strategies with societies that inhabited areas in central Colombia located hundreds of kilometers away from the site studied. We support this claim because the forms, the use of the space in the images, and the gestures of a hieratic character appear both in the faces of the petroglyphs of the Huila Department as well as in some pre-Hispanic gold masks from the Cundinamarca region. The images of the rock art faces were analysed using a visual semiotic model based on the suggestions of the Mu group and analyses by Felix Thurleman and Jean Marie Floch. The analysis was complemented by Jacques Fontanille’s proposal for the levels of semiotic relevance, with Juri Lotman’s concept of the semiosphere employed as a key concept. (shrink)

Many twentieth-century accounts of history have used geological tropes to describe the phenomenon of historical knowledge, and such terms have been of particular importance in the phenomenological tradition. In Heidegger's references in Being and Time to the "soil of history," Husserl's account in his later work of "sedimentation" in the lifeworld, and the reformulation of this notion in the phenomenology of Merleau-Ponty, geological tropes are used to illustrate important insights into the relation between contingency, a priority and historicity. This paper (...) seeks to contribute to an understanding of history understood phenomenologically as historicity through an analysis of these geological tropes. I argue that such geological tropes help the phenomenologist to describe the way in which history is always determined within a complex interplay between only temporarily fixed determining structures - such as riverbanks, insoluble sediment, soil, etc. - and free-flowing praxis, a situation in which historical events are at once determinant of and themselves determined by human activity. Paradoxically, the constant and "grounding" element in such conceptions of history is not the sediment and hard rock of historical fact, but the the constant change and variability-despite the sense giving continuity - of human experience structured by historicity. I begin with a brief overview of the landscape on the philosophy of history in which these views arose, and then continue to an analysis of the tropes themselves. (shrink)

In Homer’s account of the adventurous journey of Odysseus, the song of the sirens was so appealing and tempting that it lured sailors to their deaths. Warned by the goddess Kirke, Odysseus overcame the trap by plugging his crew’s ears with wax. An archaeo-acoustical research expedition undertaken by members of Humboldt University Berlin made sound propagation experiments at the supposedly historical scene at the Galli Islands where it’s said that the sirens originally sung. At the site we broadcasted both synthetic (...) signals and natural voices via loudspeakers in the direction Odysseus most probably should have approached the Siren’s island. Subjective listening as well as objective acoustic analysis of the recorded signals revealed evidence for a combination of site-specific acoustic effects, which may explain the nature and origin of the song of the sirens in Homer. The local arrangement of the three islands deforms the acoustic signals by amplification and by changes in timbre. Two female singers from the Berlin State Opera were asked to sing differently pitched musical intervals to be tested in the Li Galli environment. The experiment evinced that the first overtones would be merged by the echo of the rocks; yet when singing pure thirds and less consonant intervals, which yield higher orders in the overtone series, the voices appear recognisable as being two. As a result, and particularly because Homer stresses the number of exactly two sirens several times, the evidence of our research supports the musicological theory for a rather early existence of enharmonic tunings and most prominently a two-part polyphonic singing of Greek songs. Given that the rocky formation of the Galli Islands most likely didn’t change during the geological tick of just 2,700 years, we conclude that there has been a real acoustic basis for the myth reported by Homer and that a “song of the Sirens”, most probably based on natural voices, was transformed by the particular acoustic conditions of the landscape in such a way that signals were amplified and sent out in one concrete direction. Based on these results, we continue to discuss further leading acoustic theories that offer new insights into the mythology and which were essential to motivate our expedition in the first place. After all, the question remains open what kind of beings the first emitters of the song might have been. (shrink)

Ontologies of Rock Art is the first publication exploring a wide range of ontological approaches to rock art interpretation, constituting the basis for ground-breaking studies on Indigenous knowledges, relational metaphysics, and rock imageries. The book contributes to the growing body of research on the ontology of images by focusing on five main topics: ontology as a theoretical framework; the development of new concepts and methods for an ontological approach to rock art; the examination of the relationships (...) between ontology, images and Indigenous knowledges; the development of relational models for the analysis of rock images; and the impact of ontological approaches on different rock art traditions across the world. Generating new avenues of research in ontological theory, political ontology and rock art research, this collection will be relevant to archaeologists, anthropologists, and philosophers. In the context of an increasing interest in Indigenous ontologies, the volume will also be of interest to scholars in Indigenous Studies. (shrink)

The earth is not just a piece of rock, water and soil; she is a living being. This fact is demonstrated by millennia of her life‘s history, growing in ages, having tempers, moods and seasons, and allowing all forms of life living on her and interacting with them and their interactions. Recent natural disasters and accidents, caused by humans in their drive to cultivate and to control, have again brought the powers of the earth and the land to our (...) attention. A new dimension in the visions and virtues of cultivation needs to extend on a global scale the Hippocratic ‗do no harm‘ virtue and principle from the singular doctor-patient interaction towards all forms of life, including the life of the earth.This paper interprets the Bioethical Imperative, developed by Fritz Jahr in 1927, into land ethics and earth ethics; it also discusses the concept of cultural geography of Ernst Kapp, 1845 in Germany, and the land ethics of Aldo Leopold, 1949 in the USA. Of particular new moral and cultural concern is the risk of radiation to the genetic heritage of all forms of life, to livable biotopes and interactive environments. The Bioethical Imperative includes Land Ethics and the Earth: ―Respect mother earth with all her forms of life, whether natural or man-made, basically as goals in themselves and treat them, if possible, as such.‖“The guiding rule for our actions may be the Bioethical Demand: Respect every living being on principle as an end in itself and treat it, if possible, as such!”- Fritz Jahr. (shrink)

In the first chapter of the Origin of species and in two chapters of the Variation of animals and plants under domestication, Darwin discusses the origin of domestic pigeons, claiming that all the known breeds were produced from a single species: Columba livia, the rock pigeon. The detailed defense of this point is of high relevance in Darwin’s argumentation strategy, since the differences between the several domestic breeds is so large that, if they were found in the wild, they (...) could be classified as different species or genera. If man was able to produce such large differences, it becomes plausible that nature can produce even larger differences, and therefore the process of natural selection becomes acceptable. Darwin emphasizes the enormous differences between the several domestic breeds (that may have dissimilar cranial structures and a varying number of vertebrae), and at the same time he attempts to show that there are connections and transitions between the extreme types, arguing for their common origin. One of the several interesting parts of his argument is an experiment of crossing between widely different breeds, which led him to obtain pigeons similar to the wild species. The detailed analysis of Darwin’s study of pigeons shows the extreme care he took in his attempt to provide strong arguments for his theory. RESUMO: No primeiro capítulo do Origin of species, e em dois capítulos do Variation of animals and plants under domestication, Darwin discute a origem dos pombos domésticos, defendendo que todas as raças conhecidas provêm de uma única espécie: Columba livia, o pombo de rocha. A defesa detalhada desse ponto é de grande importância na estratégia argumentativa de Darwin, pois as diferenças entre as várias raças de pombos são tão grandes que, se fossem encontradas em estado selvagem, poderiam ser classificadas como espécies ou gêneros diferentes. Se o homem foi capaz de produzir mudanças tão grandes como essas, torna-se plausível que a natureza possa produzir diferenças ainda maiores, e assim o processo de seleção natural se torna aceitável. Darwin enfatiza as grandes diferenças entre as raças de pombos (que chegam a possuir, por exemplo, diferentes estruturas cranianas e diferentes números de vértebras), e ao mesmo tempo procura mostrar a existência de nuances e transições entre os tipos extremos, para defender a origem comum. Um dos aspectos interessantes de sua argumentação é um experimento de cruzamento entre raças bem diferentes, através da qual obtém pombos semelhantes à espécie selvagem. A análise detalhada desse estudo de Darwin mostra o extremo cuidado que ele tomava para tentar proporcionar fortes argumentos a favor de sua teoria. (shrink)

BILL MARTIN replies to Sciabarra's essay on Rand, Rush, and progressive rock with critical reflections from a Marxist perspective. Focusing on the film version of The Fountainhead, which shares much in common with film noir and Socialist Realism, Martin rejects as reification Rand's emphasis on property as the defining feature of human life. Her dismissal of rock music has overtones of racism and Eurocentrism. The rock band Rush may have drawn inspiration from Howard Roark, but (...) two other real-life role models would have been better suited: Ludwig van Beethoven and Frank Lloyd Wright. (shrink)

Martin replies to Sciabarra's essay on Rand, Rush, and progressive rock with critical reflections from a Marxist perspective. Focusing on the film version of The Fountainhead, which shares much in common with film noir and Socialist Realism, Martin rejects as reification Rand's emphasis on property as the defining feature of human life. Her dismissal of rock music has overtones of racism and Eurocentrism. The rock band Rush may have drawn inspiration from Howard Roark, but two (...) other real-life role models would have been better suited: Ludwig van Beethoven and Frank Lloyd Wright. (shrink)

Everyone with their feet on the ground admits that in the physical sciences there has been progress. One can debate the niceties. The hard rock is that our ability to predict and control natural events and processes is greater now than it has ever been. And there has been astonishing technological fallout.

I am on record as a fan of Rock, Bone, and Ruin, and I was pleased to discover that, in our paired cover blurbs, Martin Rudwick and I make essentially the same point: the great virtue of Rock, Bone, and Ruin is that Adrian Currie combines what you might describe as a jeweler’s-eye view, in his attention to the messy details of research practice in the historical sciences, with a cartographer’s breadth of vision that, as Rudwick puts (...) it, leads him to “explore the surprising commonalities that underlie these superficially diverse sciences.” Rather than appraising the epistemic prospects of the historical sciences against an abstract, trans-contextual template, Currie builds this breadth from close analysis of the strategies by which epistemically “unlucky” historical scientists parlay their limited evidential resources into a robust understanding of temporally remote geological events, evolutionary processes and cultural dynamics. As a demonstration of how productive such a turn to practice can be, Currie’s approach has meta-philosophical implications to which I return at the end, but first I offer a selective review of his appraisal of the limitations of trace-centric accounts. (shrink)

TO ADDRESS THE ROLE OF CHILDREN AND FAMILIES IN STRUGGLES FOR justice, we must bear in mind not "family" in the abstract but particular families in particular times and places. The decisions and actions of particular families—certain African American and white families with children of high school age in Little Rock, Arkansas, during the academic years 1957 and 1958—prompted the controversy I reconsider here, between the German-born political philosopher Hannah Arendt and African American participants and leaders in the southern (...) civil rights movement, most famously represented by Martin Luther King Jr. (shrink)

Chris Matthew Sciabarra surveys discussions of Ayn Rand in the literature on Progressive rock music. He examines critically Edward Macan's Rocking the Classics: English Progressive Rock and the Counterculture, Paul Stump's The Music s All That Matters: A History of Progressive Rock, Carol Selby Price and Robert M. Price's Mystic Rhythms: The Philosophical Vision of Rush, Bill Martin's Listening to the Future: The Time of Progressive Rock, 1968-1978 (1998), and Durrell S. Bowman's essay on the (...) rock band Rush in Kevin Holm-Hudson's Progressive Rock Reconsidered. He argues that the authors show varying degrees of understanding of Rand's brand of "redemptive politics.". (shrink)

The theory of visual perception that Irvin Rock develops and supports in this book with numerous original experiments, views perception as the outcome of a process of unconscious inference, problem solving, and the building of structural descriptions of the external world.

In this paper, I will describe how Brentano was able to integrate descriptive philosophy and logical analysis fruitfully by pointing out Brentano’s concept of philosophy as a rigorous science. First I will clarify how Brentano attempted to turn philosophy into a rigorous descriptive science by applying scientific methods to philosophical questions. After spelling out the implications of such a descriptive understanding of philosophy, I will contrast this descriptive view of philosophy with a semantic-analytic understanding of philosophy as proposed by Frege. (...) After having thus set the stage I will argue that the current separation of philosophy into the seemingly antithetical strands of phenomenology and analytic philosophy may be seen as a consequence of how the term ‘rigorous science’ in ‘philosophy as a rigorous science’ is interpreted: Does a rigorous science grasp its object with as much exactitude as possible? Or is a science rigorous when its theories are expressed unambiguously, and their implications are drawn with precision? In the course of this investigation I will also point out how Brentano’s integrative use of descriptive philosophy and analysis can provide a suitable starting point for an equally successful integration of these methods in contemporary philosophy. (shrink)

Arien Mack and Irvin Rock make the radical claim that there is no conscious perception of the visual world without attention to it.

Recognized as a landmark of twentieth century intellectual history, I and Thou is Buber's masterpiece.

Based on a creative use of the phenomenological method, we argue that a close examination of the temporality of objects reveals the future as genuinely open. Without aiming to decide the matter of phenomenological realism, we suggest that this method can be used to investigate the mode of being of objects in their own temporality. By bracketing the anticipatory structure of experience, one can get a sense of objects’ temporality as independent of consciousness. This contributes to the current Realism versus (...) Idealism debates, but it does so without taking sides. The starting point is neither an analysis of pure consciousness, nor attempts to describe objects in-themselves, but the idea that things can be phenomenologically grasped through the difference between their temporality and our own. By being methodically “open to the future,” one can become aware of the sui generis temporality of objects as different from the temporality shaped by our anticipation. (shrink)

This paper explores the financial reporting scandals of the past decade and the resulting U.S. legislative attempts to impose ethical behavior and control the incidence of new reporting problems via the Sarbanes-Oxley legislation. We begin with a brief historical perspective followed by assertions of ethical consequences of legislation with discussions of key recent corporate scandals, the motives for the frauds, and the consequences. Ethics related provisions of the Sarbanes-Oxley Act are discussed with the potential impact of the legislation on the (...) likelihood of similar future frauds and accompanying prognosis for future corporate ethical behavior. (shrink)

Bd. 1. A-B -- Bd. 2. C-F -- Bd. 3. G-Inn -- Bd. 4. Ins-Loc.

Although Kant is often considered the philosopher who ended the reign of metaphysical dogmatism, the situation is not quite so clear. On the one hand, this analysis must bear in mind that Kant himself had a great interest in metaphysics, insofar as it was not dogmatic – Kant himself considered his Critique to be just a reform of metaphysics. On the other hand, the Critique of Pure Reason itself is a result of certain metaphysical-dogmatic preliminary decisions. In order to show (...) how one-sided the idea is that Kant simply did away with metaphysics, I will draw attention to the metaphysical presuppositions that shape the Critique of Pure Reason. The first thinker who attempted to explicate the metaphysical basis of the Critique was Kant’s friend and colleague Johann Georg Hamann. With Hamann’s guidance I will argue that even his Critique of Pure Reason was based on metaphysical presuppositions and that such an influence by metaphysical preliminary decisions is inevitable – even for such a sharp critic of metaphysical dogmatism as Kant. At the same time this text provides an introduction to Hamann’s thought, a thinker ahead of his times. (shrink)

It is a puzzling fact that the Greek term for Nature ‘physis’ could be used to refer to i) reality as a whole, ii) the nature of something, iii) to individual material beings or materiality and iv) all things that are self-generating. In order to understand and tie together this wide array of possible meanings, I will consider the thesis that ‘physis’ was in fact used as a concept of being, a term naming the fundamental property of all of reality (...) in the early pre-Socratics, poets and scientists before 500 BCE. Investigating ‘physis’ in this way can give us a way of thinking about Nature as a dynamic and creative but material process that goes far beyond the classical understanding of Nature as the sum of things that self-generate or the modern mathematical understanding of Nature born with Galileo, dominant to this day. (shrink)

For centuries most ontological systems have been based on the presupposition that the paradigmatic type of being is the kind of being things like stones and houses have. But if one looks at the beginning of Philosophy, at the emergence of philosophic thought, this choice was not obvious. For the pre-Socratics and even for Plato and Aristotle it was not obvious that reality is composed out of static and distinct elements. In this paper I investigate this relationship between a static (...) and a dynamic account of reality both in its historic as well as systematic dimension. I argue that ontologies are ultimately based on an analysis of predication and that dynamic ontologies are mainly based on an empirical or phenomenological investigation of singular and concrete reality. (shrink)

Name der Zeitschrift: Das Mittelalter Jahrgang: 18 Heft: 2 Seiten: 153-166.