A new class of visuomotor neuron has been recently discovered in the monkey’s premotor cortex: mirror neurons. These neurons respond both when a particular action is performed by the recorded monkey and when the same action, performed by another individual, is observed. Mirror neurons appear to form a cortical system matching observation and execution of goal-related motor actions. Experimental evidence suggests that a similar matching system also exists in humans. What might be the functional role of this matching system? One (...) possible function is to enable an organism to detect certain mental states of observed conspecifics. This function might be part of, or a precursor to, a more general mind-reading ability. Two different accounts of mind-reading have been suggested. According to “theory theory‘, mental states are represented as inferred posits of a naive theory. According to “simulation theory‘, other people’s mental states are represented by adopting their perspective: by tracking or matching their states with resonant states of one’s own. The activity of mirror neurons, and the fact that observers undergo motor facilitation in the same muscular groups as those utilized by target agents, are findings that accord well with simulation theory but would not be predicted by theory theory. (shrink)

William Connolly is in error when he remarks that I begin my article with a discussion of scientific accounts that reduce the emotions to a few genetically wired categories and that I suggest that the cultural theorists who are interested in affect are driven in the same reductive direction.

In The Psychologizing of Modernity, Mark Jarzombek examines the impact of psychology on twentieth-century aesthetics. Analysing the interface between psychology, art history and avant-gardist practices, he also reflects on the longevity of the myth of aesthetic individuality as it infiltrated not only avant-garde art, but also history writing. The principal focus of this study is pre-World War II Germany, where theories of empathy and Entartung emerged; and post-war America, where artists, critics and historians gradually shifted from their reliance on psychology (...) to philosophy, and, most recently, to theory. Included are discussions of writers such as Heinrich Wölfflin, Ludwig Volkmann, John Dewey, Vincent Scully and Richard Arnheim, among others. The Psychologizing of Modernity is a broad and erudite study of the evolution of modern aesthetic thinking in the fields of art and architectural history. (shrink)

My initial scope will be limited: starting from a neurobiological standpoint, I will analyse how actions are possibly represented and understood. The main aim of my arguments will be to show that, far from being exclusively dependent upon mentalistic/linguistic abilities, the capacity for understanding others as intentional agents is deeply grounded in the relational nature of action. Action is relational, and the relation holds both between the agent and the object target of the action , as between the agent of (...) the action and his/her observer . Agency constitutes a key issue for the understanding of intersubjectivity and for explaining how individuals can interpret their social world. This account of intersubjectivity, founded on the empirical findings of neuroscientific investigation, will be discussed and put in relation with a classical tenet of phenomenology: empathy. I will provide an 'enlarged' account of empathy that will be defined by means of a new conceptual tool: the shared manifold of intersubjectivity. (shrink)

Although the body has been the focus of much contemporary cultural theory, the models that are typically applied neglect the most salient characteristics of embodied existence—movement, affect, and sensation—in favor of concepts derived from linguistic theory. In _Parables for the Virtual_ Brian Massumi views the body and media such as television, film, and the Internet, as cultural formations that operate on multiple registers of sensation beyond the reach of the reading techniques founded on the standard rhetorical and semiotic models. Renewing (...) and assessing William James’s radical empiricism and Henri Bergson’s philosophy of perception through the filter of the post-war French philosophy of Deleuze, Guattari, and Foucault, Massumi links a cultural logic of variation to questions of movement, affect, and sensation. If such concepts are as fundamental as signs and significations, he argues, then a new set of theoretical issues appear, and with them potential new paths for the wedding of scientific and cultural theory. Replacing the traditional opposition of literal and figural with new distinctions between stasis and motion and between actual and virtual, _Parables for the Virtual _tackles related theoretical issues by applying them to cultural mediums as diverse as architecture, body art, the digital art of Stelarc, and Ronald Reagan’s acting career. The result is an intriguing combination of cultural theory, science, and philosophy that asserts itself in a crystalline and multi-faceted argument. _Parables for the Virtual_ will interest students and scholars of continental and Anglo-American philosophy, cultural studies, cognitive science, electronic art, digital culture, and chaos theory, as well as those concerned with the “science wars” and the relation between the humanities and the sciences in general. (shrink)

The foremost philosopher of art argues for a new politics of looking.

The history of emotions is a burgeoning field—so much so, that some are invoking an “emotional turn.” As a way of charting this development, I have interviewed three of the leading practitioners of the history of emotions: William Reddy, Barbara Rosenwein, and Peter Stearns. The interviews retrace each historian’s intellectual-biographical path to the history of emotions, recapitulate key concepts, and critically discuss the limitations of the available analytical tools. In doing so, they touch on Reddy’s concepts of “emotive,” “emotional regime,” (...) and “emotional navigation,” as well as on Rosenwein’s “emotional community” and on Stearns’s “emotionology” and offer glimpses of each historian’s ongoing research. The interviews address the challenges presented to historians by research in the neurosciences and the like, highlighting the distinctive contributions offered by a historical approach. In closing, the interviewees appear to reach a consensus, envisioning the history of emotions not as a specialized field but as a means of integrating the category of emotion into social, cultural, and political history, emulating the rise of gender as an analytical category since its early beginnings as “women’s history” in the 1970s. (shrink)

Perhaps no philosopher has so fully explored the nature and conditions of historical understanding as Wilhelm Dilthey. His work, conceived overall as a Critique of Historical Reason and developed through his well-known theory of the human studies, provides concepts and methods still fruitful for those concerned with analyzing the human condition. Despite the increasing recognition of Dilthey's contributions, relati vely few of his writings have as yet appeared in English translation. It is therefore both timely and useful to have available (...) here two works drawn from different phases in the development of his philosophy. The "Ideas Concerning a Descriptive and Analytic Psychology" (1894), now translated into English for the first time, sets forth Dilthey's programma tic and methodological viewpoints through a descriptive psychology, while "The Understanding of Other Persons and Their Expressions of Life" (ca. 1910) is representative of his later hermeneutic approach to historical understanding. DESCRIPTIVE PSYCHOLOGY AND THE HUMAN STUDIES Dilthey presented the first mature statement of his theory of the human studies in volume one of his Einleitung in die Geisteswissenschaften (Introduction to the Human Studies), published in 1883. He argued there that for the proper study of man and history we must eschew the metaphysical speculation of the absolute idealists while at the same time avoiding the scientistic reduction of positivism. (shrink)

This selection of Bertolt Brecht's critical writing charts the development of his thinking on theatre and aesthetics over four decades.

Empiricism today implies the dispassionate scrutiny of facts. But Jessica Riskin finds that in the French Enlightenment, empiricism was intimately bound up with sensibility. In what she calls a "sentimental empiricism," natural knowledge was taken to rest on a blend of experience and emotion. Riskin argues that sentimental empiricism brought together ideas and institutions, practices and politics. She shows, for instance, how the study of blindness, led by ideas about the mental and moral role of vision and by cataract surgeries, (...) shaped the first school for the blind; how Benjamin Franklin's electrical physics, ascribing desires to nature, engaged French economic reformers; and how the question of the role of language in science and social life linked disputes over Antoine Lavoisier's new chemical names to the founding of France's modern system of civic education. Recasting the Age of Reason by stressing its conjunction with the Age of Sensibility, Riskin offers an entirely new perspective on the development of modern science and the history of the Enlightenment. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Ruth Leys starts with accounts that reduce emotion to a few simple states and emphasize the degree to which it is genetically wired. She then argues that other cultural theorists who emphasize the role of affect are driven in this direction, too, even when they wish to avoid such a trajectory. Much of the argument revolves around the charge of “anti-intentionalism” against us. Because of limitations of space, my response concentrates on my own thinking in this domain, though I suggest (...) some lines of connection to other theories of affect. I will not always try to unpack Leys’s views but will focus more on where mine deviate from her account of them. (shrink)

I. Bernard Cohen (1914–2003), the first American to receive a Ph.D. in history of science, was a Harvard undergraduate ('37) and then a Ph.D. student and protégé of George Sarton, founder of Isis and the History of Science Society. He went on to succeed Sarton as editor of Isis (1952–1958) and, later, president of the Society (1961–1962); he was also a president of the International Union of the History and Philosophy of Science. Cohen was an internationally recognized Newton scholar; his (...) interests were encyclopedic, ranging from science and public policy to the history of computers, with several decades as a special consultant for history of computing with IBM. Among his hundreds of publications were such major books as Franklin and Newton (1956), The Birth of a New Physics (1959; rpt., 1985), The Newtonian Revolution (1980), Revolution in Science (1985), Science and the Founding Fathers (1995), Howard Aiken: Portrait of a Computer Pioneer (1999), and his last book, The Triumph of Numbers (2005), not to mention two jointly authored contributions, the variorum edition and new English translation of Newton's Principia, which will surely still be read a century from now. (shrink)

Keine ausführliche Beschreibung für "Der aesthetische Genuss" verfügbar.