This article takes its point of departure from the second (embodied) linguistic turn represented by the enactivist notion of humans as linguistic bodies, using resources from Hans Georg Gadamer in order to propose a view of the relation between art and everyday experience as one of symbolic transformation. Conceiving art as a form of linguistic phenomenon wherein one can engage in original situations of communication, this view rejects both autonomist and direct continuity views of the art-everyday relation. We start by (...) situating the idea of linguistic bodies within the enactive approach, spelling out relevant aspects concerning the significance of language for human life and perception (Sect. 2). Then we embark on a discussion of aspects of Shaun Gallagher’s and Alva Noë’s enactivist perspectives on art experience, highlighting places where their views align with and depart from ours (Sect. 3). The last two sections aim to lay out the transformative view in more detail, proposing a pluralistic understanding of art media and a view of art and art experience as modes of ideational, embodied thought (Sects. 4 and 5). (shrink)

This article takes issue with the formalism problem arguably pertaining to Habermas's conception of communicative rationality and discursive justification. Beginning with the Hegelian premises of Habermas's theory of mutual understanding and communicative rationality, the article proceeds to make Kant's doctrine of reflective judgement fruitful for a critique of Habermas's restriction of reasons to discursively articulated endorsements, the 'force of the better reasons'. The argument consists in showing that discursive justification must rely upon endorsements of particulars exhibited in right judgements, and (...) that such endorsements must be expressed or articulated to yield public manifestations of discursive orientations and commitments, constituting what is referred to as 'communicative experience'. On the account presented here, the rational significance of particulars is revealed in the expressive attitude that allows or admits non-discursive constraints to the conception of rational justification. The promise of such an account - as premised upon Kant's insights in his third Critique - consists in its capability to avoid the one-sided formalism of discursive rationality, incorporating ethical, expressive and aesthetic dimensions to our rational self-conception. Key Words: aesthetic experience • communicative experience • concrete other • discourse-ethics • ethical life • feminism • Habermas • Hegel • Kant • morality • rational justification • reflective judgement • world-disclosure. (shrink)

Adorno's conception of conceptually articulated experience can be defended and made fruitful for a critical philosophy after the so-called linguistic turn. The aim is both to answer the criticisms raised by Jürgen Habermas and others that Adorno's philosophy remains bound by the premises of a subject-centred philosophy, and to criticize social-pragmatism from the vantage-point of Adorno's philosophy of language. It is shown that Adorno is committed to a picture of experience very much in line with the recent views of John (...) McDowell, which extends the space of reasons beyond the space of concepts. Further, it is shown that non-inferential justification can be combined with an expressivist picture of judgment. Finally, it is argued that what is called the extended space of reasons is ultimately social; that representation, the aboutness of thought, serves expressive roles in a socially articulated space of reason-giving. The advantage of Adorno's position vis-à-vis a one-sided social-pragmatism consists in his defence of what is called subjective-material proprieties of judgment. Adorno's idea that the extended space of reasons implies the acknowledgement of what he refers to as the non-identical within conceptually articulated experience is thus reconstructed and defended. Such non-identity, it is claimed, is exhibited in successful art-works which thereby ought to be counted as forms of reasoning. On this basis, Adorno's philosophy acquires critical and normative significance after the linguistic turn. (shrink)

This article considers the treatment of intersubjectivity as the core of Husserl's transcendental phenomenology. From this standpoint it identifies the problematic of Husserl's theory of the "experience of the Other", which Husserl exposes in his commentaries on Descartes V Meditation. The paper draws a parallel between Husserl and Kant in order to clarify the Husserlian notions, and finally shows the difficulties of Husserl's approach due to his assumption of the premises of the "Subjektsphilosophie".

Book reviews: Adorno, Theodor W., Metaphysik. Begriff und Probleme (reviewed by Ståle R.S. Finke).

Eugen Fink is considered one of the clearest interpreters of phenomenology and was the preferred conversational partner of Edmund Husserl and Martin Heidegger. In Play as Symbol of the World, Fink offers an original phenomenology of play as he attempts to understand the world through the experience of play. He affirms the philosophical significance of play, why it is more than idle amusement, and reflects on the movement from "child's play" to "cosmic play." Well-known for its non-technical, literary style, this (...) skillful translation by Ian Alexander Moore and Christopher Turner invites engagement with Fink's philosophy of play and related writings on sports, festivals, and ancient cult practices. (shrink)

In "Two sorts of Naturalism" John McDowell is sketching his own sort of naturalism in ethics as an alternative to "bald naturalism". In this paper I distinguish materialist, idealist and absolute conceptions of nature and of naturalism in order to provide a framework for a clearer understanding of what McDowell’s own naturalism amounts to. I argue that nothing short of an absolute naturalism will do for a number of McDowell's own purposes, but that it is far from obvious that this (...) is his position. If he directly denies that it is, he seems to be left with some rather awkward choices. (shrink)

Stethoscopes, x-rays and other medical technologies are two-edged swords. They make medical treatment and diagnosis more accurate and effective, but do at the same time reveal our perceptual inadequacy. By transcending our senses, these technologies reveal that we can be seriously diseased without experiencing any symptoms at all. This situation has changed our attitude towards our relations and ourselves. The situation can be analysed using Jürgen Habermas’ conception of systems colonisation of the lifeworld. Medical technologies colonise our life world. They (...) change the way we think and act. They make us all accept that we can become patients almost any minute, even if we feel perfectly healthy. Sense transcending technologies turn us all into proto-patient. (shrink)

Journal Name: SATS Issue: Ahead of print.

Colin McGinn has argued that consciousness is a nonspatial phenomenon. McGinn’s arguments for the nonspatiality of consciousness are presented and then criticized. It is concluded that consciousness may be as spatial as electric charge and different kinds of abilities.

Introduction All of us have experienced quite dramatic social changes in our lifetimes. Our families differ greatly from those of our parents, ...

Objectives: No systematic review or meta-analysis concerning the prevalence of shift work disorder has been conducted so far. The aim was thus to review prevalence studies of SWD, to calculate an overall prevalence by a random effects meta-analysis approach and investigate correlates of SWD prevalence using a random-effects meta-regression.Methods: Systematic searches were conducted in ISI Web of Science, PsycNET, PubMed, and Google Scholar using the search terms “shift work disorder” and “shift work sleep disorder.” No restrictions in terms of time (...) frame were used. Included studies had to present original data on the prevalence of SWD in an occupational sample published in English. A total of 349 unique hits were made. In all, 29 studies were finally included from which two authors independently extracted data using predefined data fields. The meta-regression included four predictors.Results: The overall prevalence of SWD was 26.5%. Cochran Q was 1,845.4, and the I2 was 98.5%, indicating very high heterogeneity across the observed prevalence estimates. Diagnostic criteria and sample size were inversely related to SWD prevalence.Conclusions: The prevalence of SWD was high across the included studies. The between-study disparity was large and was partly explained by diagnostic criteria and sample size. In order to facilitate comparative research on SWD, there is a need for validation and standardization of assessment methodology as well as agreement in terms of sample restrictions. (shrink)

Die schnell anwachsende Hinneigung zur Existentialanalytik, zur Lebensphilosophie und zur Ontologie am Anfang der 30er Jahre zwang Edmund Husserl dazu, die ursprungliche, als transzendentale ausgereifte Phanomenologie in methodischer und systematischer Hinsicht von diesen neuen Tendenzen scharf abzugrenzen. In den Jahren 1930 bis 1932 entwarf Eugen Fink im Auftrag seines Lehrers eine Reihe von Texten zur Phanomenologie, die grundlegende Bedeutung haben sollten fur ein Systematisches Werk der Phanomenologie bzw. als neue Meditations cartesiennes fur das deutsche Publikum gedacht waren. Diese Entwurfe Eugen (...) Finks kulminierten in der VI. Cartesianischen Meditation (1932), die u. a. von Gaston Berger, Maurice Merleau-Ponty und Tran Duc Thao in Frankreich rezipiert wurde, bevor Fink sie im Jahre 1946 als Habilitationsschrift an der Freiburger Universitat einreichte. Der vorliegende Band, der in chronologischer Reihenfolge die im Auftrag Husserls verfassten Entwurfe Finks aus den Jahren 1930-32 veroffentlicht, schliesst unmittelbar an die Bande 1 (Studien zur Phanomenologie) und 3 (Phanomenologische Werkstatt) der Eugen Fink Gesamtausgabe an. In diesen Texten gewinnt Finks origineller Beitrag zur Phanomenologie Husserls in der Freiburger Zeit eine Konturenscharfe, die von Sartre und Merleau- Ponty fruh erkannt wurde. (shrink)

Die Autorin geht der Frage nach, welche Raum- und Ortskonzeptionen in den 1990er Jahren - nach der kritischen Relektüre der Ortspezifik - in der Kunst Verwendung gefunden haben. Dabei erweist sich "The Ambient" als Schlüsselphänomen. Ursprünglich für die Musik entwickelt, ist das Konzept des "Ambient" durch die Konstruktion eines vorübergehenden, prozessualen Ortes gekennzeichnet. Hergestellt wird dieser einerseits durch künstlerische Produktionsprozesse, die in bestehende Architektur- und Landschaftsräume verändernd eingreifen. Andererseits basiert "Ambient" auf kollektiven Praktiken. Sabine Gebhardt Fink erläutert, wie die ortspezifische (...) Kunst der 1960er Jahre weiterentwickelt wurde. Sie beschreibt spezifische Formen immersiven ästhetischen Erlebens und beleuchtet den Einfluss des Ortskonzeptes von Ambient Music und Ambient Sound. Anhand künstlerischer Projekte von Ricardo Basbaum, Janet Cardiff, Alice Creischer / Andreas Siekmann / Christian von Borries, Thomas Hirschhorn, San Keller und Hendrikje Kühne / Beat Klein wird schließlich geklärt, was unter einer Ästhetik des Mit-Seins zu verstehen ist. (shrink)