A review of Christy Mag Uidhir's Art & Art-Attempts (OUP 2013).

Abstract: There is a long tradition of trying to analyze art either by providing a definition (essentialism) or by tracing its contours as an indefinable, open concept (anti-essentialism). Both art essentialists and art anti-essentialists share an implicit assumption of art concept monism. This article argues that this assumption is a mistake. Species concept pluralism—a well-explored position in philosophy of biology—provides a model for art concept pluralism. The article explores the conditions under which concept pluralism is appropriate, and argues that they (...) obtain for art. Art concept pluralism allows us to recognize that different art concepts are useful for different purposes, and what has been feuding definitions can be seen as characterizations of specific art concepts. (shrink)

Christy Mag Uidhir’s Art and Art-Attempts begins from two deceptively simple observations: artworks are the product of intentions, and intentions are the kinds of things that can fail to be realized successfully. Drawing on these observations, he argues that most contemporary theories of art must be rejected because they are not substantively intention-dependent: that is, they do not account for the fact that an attempt to make an artwork can fail. From his view that artworks must be the (...) product of art-attempts that are subject to failure, Mag Uidhir derives implications for many domains in the philosophy of art. He argues that artworks cannot be abstract objects, since abstract objects cannot participate in causal relations and thus can’t be the product of art attempts: one can’t coherently intend or attempt to create something that exists eternally. Things that we think of as repeatable artworks, then, can’t be abstract types: instead, Mag Uidhir proposes, every artwork is concrete, but some are tied together by a relation of relevant similarity. In this symposium, Mag Uidhir replies to three critics, David Davies, Sherri Irvin and Keith Lehrer. All three critics examine the relevant similarity relation that Mag Uidhir proposes to account for artworks that we treat as repeatable, while also considering a variety of other issues. (shrink)

An object being non-art appears only trivially informative. Some non-art objects, however, could be saliently 'almost' art, and therefore objects for which being non-art is non-trivially informative. I call these kinds of non-art objects 'failed-art' objects—non-art objects aetiologically similar to art-objects, diverging only in virtue of some relevant failure. I take failed-art to be the right sort of thing, to result from the right sort of action, and to have the right sort of history required to be art, but to (...) be non-art by having failure where being art requires success. I assume that for something to be art that thing must be the product of intention-directed action. I then offer an account of attempts that captures the success conditions governing the relationship between intention-directed actions and their products. From this, I claim that to be failed-art is to be the product of a failed art-attempt, i.e., to be non-art as the result of the particular way in which that art-attempt failed. An art-attempt I take to be an attempt with success conditions, that, if satisfied, entail the satisfaction of the conditions for being art—whatever those may be. To be art, then, is to be the product of a successful art-attempt. As such, any art theory incompatible with my account of failed-art is an art theory for which the notions of success and failure do not matter, and therefore an art theory for which being art needn't be substantively intention-dependent. So, any theory of art unable to accommodate my account of failed-art is _ipso facto_ false. (shrink)

Claims that pornography cannot be art typically depend on controversial claims about essential value differences (moral, aesthetic) between pornography and art. In this paper, I offer a value-neutral exclusionary claim, showing pornography to be descriptively at odds with art. I then show how my view is an improvement on similar claims made by Jerrold Levinson. Finally I draw parallels between art and pornography and art and advertising as well as show that my view is consistent with our typical usage of (...) the term “pornographic art.”. (shrink)

A standard art-ontological position is to construe repeatable artworks as abstract objects that admit multiple concrete instances. Since photographic artworks are putatively repeatable, the ontology of photographic art is by default modelled after standard repeatable-work ontology. I argue, however, that the construal of photographic artworks as abstracta mistakenly ignores photography’s printmaking genealogy, specifically its ontological inheritance. More precisely, I claim that the products of printmaking media (prints) minimally must be construed in a manner consistent with basic print ontology, the most (...) plausible model of which looks decidedly nominalist (what I call the relevant similarity model) and that as such, photographic artworks must be likewise construed, not as abstracta but as individual and distinct concreta. That is, the correct ontological account of photographic art must be one according to which photographic artworks are individual and distinct concrete artworks. In the end, I show that the ontology of photographic art resists the standard repeatable-work model because the putative repeatability of photographic artworks is upon closer inspection nothing more than the relevant similarity relation between individual and distinct photographic prints. (shrink)

I consider the field of aesthetics to be at its most productive and engaging when adopting a broadly philosophically informative approach to its core issues (e.g., shaping and testing putative art theoretic commitments against the relevant standard models employed in philosophy of language, metaphysics, and philosophy of mind) and to be at its most impotent and bewildering when cultivating a philosophically insular character (e.g., selecting interpretative, ontological, or conceptual models solely for fit with pre-fixed art theoretic commitments). For example, when (...) philosophical aesthetics tends toward insularity, we shouldn’t be surprised to find standard art-ontological categories incongruous with those standardly employed in contemporary metaphysics. Of course, when contemporary metaphysics tends to ignore aesthetic and art theoretic concerns, perhaps we likewise shouldn’t be surprised to find the climate of contemporary metaphysics inhospitable for a theory of art. While this may seem to suggest at least a prima facie tension between our basic art theoretic commitments considered from within philosophical aesthetics and our standard ontological commitments considered from without, I think any perceived tension or antagonism largely due to metaphysicians and aestheticians (at least implicitly) assuming there to be but two available methodological positions with respect to the relationship between contemporary metaphysics and philosophical aesthetics (in the relevant overlap areas). I call these two opposing views the Deference View and the Independence View. I argue that either view looks to lead to what I call the Paradox of Standards. (shrink)

Most theories of suspense implicitly or explicitly have as a background assumption what I call suspense realism, i.e., that suspense is itself a genuine, distinct emotion. I claim that for a theory of suspense to entail suspense realism is for that theory to entail a contradiction, and so, we ought instead assume a background of suspense eliminativism, i.e., that there is no such genuine, distinct emotion that is the emotion of suspense. More precisely, I argue that i) any suspense realist (...) (...) theory must resolve the paradox of suspense, ii) if suspense is itself a genuine, distinct emotion, then in order to resolve the paradox of suspense it must be a radically sui generis genuine, distinct emotion, iii) according to any minimally adequate theory of the emotions, there can be no radically sui generis emotion, and so iv) there can be no genuine, distinct emotion that is the emotion of suspense. Quite simply, if a theory of suspense must entail suspense realism, then we ought to be eliminativists about suspense. This I call the Paradox of Suspense Realism, which I take to constitute a productive viability condition for any theory of suspense, i.e., any viable theory of suspense must be mutatis mutandis compatible with suspense eliminativism. (shrink)

Motivating philosophical interest in the notion of suspense requires comparatively little appeal to what goes on in our ordinary work-a-day lives. After all, with respect to our everyday engagements with the actual world suspense appears to be largely absent—most of us seem to lead lives relatively suspense-free. The notion of suspense strikes us as interesting largely because of its significance with respect to our engagements with (largely fictional) narratives. So, when I indicate a preference for suspense novels, I indicate a (...) preference not only for reading novels with certain narrative structures or content but for novels that in virtue of their narrative structure or content, when properly engaged, evoke a .. (shrink)

This article claims that there is no in principle aesthetic difference between a live performance and a recording of that performance, and as such, performance individuation ought to be revised to reflect this. We ought to regard performances as types able to be instantiated both by live performances and by recordings of those performances, or we ought to abandon performances qua aesthetic objects.

I propose a minimal account of authorship that specifies the fundamental nature of the author-relation and its minimal domain composition in terms of a three-place causal-intentional relation holding between agents and sort-relative works. I contrast my account with the minimal account tacitly held by most authorship theories, which is a two-place relation holding between agents and works simpliciter. I claim that only my view can ground productive and informative principled distincitons between collective production and collective authorship.

For the most part, the Aesthetic Theory of Art—any theory of art claiming that the aesthetic is a descriptively necessary feature of art—has been repudiated, especially in light of what are now considered traditional counterexamples. We argue that the Aesthetic Theory of Art can instead be far more plausibly recast by abandoning aesthetic-feature possession by the artwork for a claim about aesthetic-concept possession by the artist. This move productively re-frames and re-energizes the debate surrounding the relationship between art and the (...) aesthetic. That is, we claim Aesthetic Theory so re-framed suggests that the aesthetic might have a central and substantial explanatory role to play within both traditional philosophical enquiries as well as recent and more empirical enquiries into the psychological and cognitive aspects of art and its practice. Finally, we discuss the directions this new work might take—by tying art theory to investigations of the distinctive sensorimotor capacities of expert artists, their specialized aesthetic conceptual schemata, and the ways these distinctive capacities and schemata contribute to the production of artworks. (shrink)

Most mass-art comics (e.g., “superhero” comics) are collectively produced, that is, different people are responsible for different production elements. As such, the more disparate comic production roles we begin to regard as significantly or uniquely contributory, the more difficult questions of comic authorship become, and the more we view various distinct production roles as potentially constitutive is the more we must view comic authorship as potentially collective authorship. Given the general unreliability of intuitions with respect to collective authorship (coupled with (...) our general unfamiliarity with the medium), we must look to find a principle of comic authorship out of which authorship questions can be settled for comics simpliciter. Furthermore, any such principle found must also be capable of grounding a principled distinction between collective production and collective authorship; should this distinction be absent, any proper manner of framing the central descriptive and evaluative questions for comics must likewise be absent. Quite obviously we need a theory of comic authorship. To this end, I suggest how we should proceed and exactly what such a theory should look like. (shrink)

I argue that what’s so bad (qua film fiction) about the cinematic practice of actor-character race-mismatching—be it the historically infamous and intuitively repugnant practice of blackface or one of its more contemporary kin—is that the extent to which film-fictions employ such practices is typically the extent to which such film-fictions unrealistically depict facts about race. More precisely, I claim that race-mismatching film fictions—understood as a species of unrealistic fiction—are prima facie inconsistent fictions with the capacity to mislead their audiences about (...) certain morally relevant actual-world states-of-affairs and thus, prima facie aesthetically, epistemically, and morally defective. (shrink)

The primary purpose of depictive works of pornography, we take it, is sexual arousal through sexually explicit representations; what we callprototypical pornography satisfies those aims through the adoption of a ceteris paribus maximally realistic depictive style. Given that the purpose of sexual arousal seems best fulfilled by establishing the most robust connections between the viewer and the depictive subject, we find it curious that not all works of pornography aspire to prototypical status. Accordingly, we target for philosophical scrutiny several non-standard (...) but putatively pornographic forms: Tijuana Bibles, hentai manga, and slash-fiction. We find that works of these genres possess certain depictively or fictively oriented properties that appear at least prima facie incompatible with prototypical pornography, and thereby to pose two pressing questions that anyprima facie viable analysis of pornography must answer: the depiction question and the fiction question. By answering these questions, we can not only arrive at a deeper understanding of the aims of pornography and the reasons for which significant sub-genres of pornography might diverge from the prototypical ideal, but also perhaps better understand what lies at pornography’s edge, and so better understand the ways in which pornography might relate to what lies beyond. (shrink)

Most artworks—or at least most among those standardly subject to philosophical scrutiny—appear to be singular, stand-alone works. However, some artworks (indeed, perhaps a good many) are by contrast best viewed in terms of some larger grouping or ordering of artworks. i.e., as a series. The operative art-theoretic notion of series in which I am interested here is that of an individual and distinct artwork that is itself non-trivially composed of a non-trivial sequence of artworks (e.g., Walter de Maria’s Statement Series, (...) Krzysztof Kieslowski’s Three Colors)—as opposed to an art-historically informative or art critically productive thematically, stylistically, or formally unified ordering or grouping of individual and distinct artworks within an artist’s larger body of work (e.g., Kiki Smith’s Blue Print series, Dan Flavin’s Monuments to V. Tatlin series, Jeff Koons’ Made in Heaven series, Robert Rauschenberg’s Tribute 21 series). Given this, my aim is simply to sketch a minimal descriptive and classificatory framework for serial art within which certain informative distinctions may be made and further philosophical enquiry may productively take place. (shrink)

I claim that caricature is an epistemically defective depiction. More precisely, when employed in service to some epistemic uptake, I claim that caricature can have a non-negligible epistemic effect only for a less than ideally rational audience with certain cognitive biases. An ideally rational audience, however, would take all caricature to be what I refer to as fairground caricature, i.e., an interesting or entertaining form of depiction that is at best only trivially revelatory. I then argue that any medium (or (...) genre) substantially employing caricature (or standardly featuring or prescribing its employment) in service to some epistemic uptake is to that extent an epistemically defective medium (e.g., beliefs informed by works specific to that medium are to that extent unwarranted). I then show the editorial cartoon to be just such an epistemically defective medium. (shrink)

Bill Seeley suggests that what follows from research into crossmodal perception for expression and emotion in the arts is that there is an emotional contour (i.e., a contour constitutive of the content of an emotion and potentially realizable across a range of media). As a response of sorts, I speculate as to what this might hold for philosophical and empirical enquiry into expression and emotion across the arts as well as into the nature of the emotions themselves.

In this paper, we develop an analysis of unrealistic fiction that captures the everyday sense of ‘unrealistic’. On our view, unrealistic fictions are a species of inconsistent fictions, but fictions for which such inconsistency, given the supporting role we claim played by genre, needn’t be a critical defect. We first consider and reject an analysis of unrealistic fiction as fiction that depicts or describes unlikely events; we then develop our own account and make an initial statement of it: unrealistic fictions (...) are those that invite us to believe something false. We further develop this account and restate it in terms of the notion of “import-export inconsistency.” That is, unrealistic fictions invite us to import certain propositions true in the actual world then invite us to export propositions entailing the negation of those imported. Finally, we consider whether for fiction being unrealistic is always an aesthetic flaw. (shrink)

This discussion note addresses Caleb Hazelwood’s ‘Practice-Centered Pluralism and a Disjunctive Theory of Art’. Hazelwood advances a disjunctive definition of art on the basis of an analogy with species concept pluralism in the philosophy of biology. We recognize the analogy between species and art, we applaud attention to practice, and we are bullish on pluralism—but it is a mistake to take these as the basis for a disjunctive definition.

Christy Mag Uidhir has recently argued (a) that there is no in principle aesthetic difference between a live performance and a recording of that performance, and (b) that the proper aesthetic object is a type which is instantiated by the performance and potentially repeatable when recordings are played back. This paper considers several objections to (a) and finds them lacking. I then consider improvised music, a subject that Mag Uidhir explicitly brackets in his discussion. Improvisation reveals problems (...) with (b), because the performance-event and the performance-type are distinct but equally proper aesthetic objects. (shrink)

Cover versions form a loose but identifiable category of tracks and performances. We distinguish four kinds of covers and argue that they mark important differences in the modes of evaluation that are possible or appropriate for each: mimic covers, which aim merely to echo the canonical track; rendition covers, which change the sound of the canonical track; transformative covers, which diverge so much as to instantiate a distinct, albeit derivative song; and referential covers, which not only instantiate a distinct song, (...) but for which the new song is in part about the original song. In order to allow for the very possibility of transformative and referential covers, we argue that a cover is characterized by relation to a canonical track rather than merely by being a new instance of a song that had been recorded previously. (shrink)

A recording or performance of a song is a cover if there is an earlier, canonical recording of the song. It can seem intuitive to think that properly appreciating a cover requires considering it in relation to the original, or at least that doing so will yield a deeper appreciation. This intuition is supported by some philosophical accounts of covers. And it is complicated by the possibility of hearing in, whereby one hears elements of the original version in the cover. (...) We argue that it can nevertheless be just as legitimate to consider a cover version on its own as it is to consider it in relation to the earlier recording that it is covering. In some cases, these two modes of appreciation will offer distinct rewards. In other cases, one mode will be substantially more rewarding than the other. The details matter, especially in complicated cases like covers of covers, but neither mode is privileged in principle. (shrink)

Aesthetic subjectivism takes the truth of aesthetic judgments to be relative to the individual making that judgment. Despite widespread suspicion, however, this does not mean that one cannot be wrong about such judgments. Accordingly, this does not mean that one cannot gain higher-order evidence of error and fallibility that bears on the rationality of the aesthetic judgment in question. In this paper, we explain and explore these issues in some detail.

Repeatable artworks, such as novels and musical works, have often been construed as universals whose instances are particular printings or performances. In Art and Art-Attempts, Christy Mag Uidhir offers a nominalist account of repeatable artworks, eschewing talk of universals. Mag Uidhir argues that all artworks are concrete, and artworks that we regard as repeatable are simply unified by a relevant similarity relation: we use the name Beloved to refer to two concrete printed novels because they are relevantly (...) similar to each other and to certain other printings that are the product of Toni Morrison’s art-attempt. I discuss two potential difficulties for Mag Uidhir’s notion of relevant similarity: a difficulty related to appropriation, and a difficulty related to the fact that musical performances are often the product of distinct art-attempts by the composer and by the performer. I suggest that both difficulties could be addressed by enriching the notion of relevant similarity by appeal to the artist’s specification of which similarities are essential for two works to count as relevantly similar. (shrink)

The selected effects or ‘etiological’ theory of Proper function is a naturalistic and realist account of biological teleology. It is used to analyse normativity in philosophy of language, philosophy of mind, philosophy of medicine and elsewhere. The theory has been developed with a simple and intuitive view of natural selection. Traits are selected because of their positive effects on the fitness of the organisms that have them. These ‘selected effects’ are the Proper functions of the traits. Proponents argue that this (...) analysis of biological teleology has the unique advantage that the selected effect function of a trait is also a causal explanation of the trait: the trait exists because it performs this function. We show, however, that selected effect functions as currently defined explain the existence of traits only under highly restrictive assumptions about evolutionary dynamics. In many common scenarios in which traits evolve by natural selection, selected effect functions do not explain those traits. This is because definitions of selected effect function extract from any evolutionary scenario only the information that would be explanatorily relevant in the simple evolutionary scenario implicit in those definitions. When applied to more complex scenarios selected effect functions omit the key information that is explanatorily relevant in those scenarios. The assumptions required for selected effect functions to be explanatory are particularly unlikely to hold in the domain that its proponents care most about - the evolution of representation. A more adequate selected effects theory of Proper functions may be possible, but will require much greater attention to the structure of actual evolutionary explanations. (shrink)

Denis Diderot’s thoroughly materialist metaphysics undergird prescient philosophical analyses; his forays into the field of ethics arguably tend toward what we today would class amongst the range of forward-looking alternative perspectives. It isn’t just that Diderot sketches or even defends the cutting-edge which motivates this paper, but also his use of female characters to reveal crucial insights. Anyone familiar with the prolific author’s body of work realizes that Diderot’s women are certainly not mere “pretty little things.” So it is that (...) his Pensées sur l’interprétation de la nature might seem to smack dissonantly of sexism. My intent is to dispel such a misreading by demonstrating that the Pensées are addressed to the intellectual everyman. To wit, Diderot’s “jeune homme” is both gender and age neutral. Denis Diderot is proven, yet again, to be ahead of his time. (shrink)

In attempt to provide an answer to the question of origin of deductive proofs, I argue that Aristotle’s philosophy of math is more accurate opposed to a Platonic philosophy of math, given the evidence of how mathematics began. Aristotle says that mathematical knowledge is a posteriori, known through induction; but once knowledge has become unqualified it can grow into deduction. Two pieces of recent scholarship on Greek mathematics propose new ways of thinking about how mathematics began in the Greek culture. (...) Both claimed there was a close relationship between the culture and mathematicians; mathematics was understood through imaginative processes, experiencing the proofs in tangible ways, and establishing a consistent unified form of argumentation. These pieces of evidence provide the context in which Aristotle worked and their contributions lend support to the argument that mathematical premises as inductively available is a better way of understanding the origins of deductive practices, opposed to the Platonic tradition. (shrink)

Many contemporary moral theories accept and rely upon a singular (often unstated) premise. Contractualisms, traditionally construed rights theories and Millian utilitarianisms all accept a uniquely indefensible claim about the nature of the moral value of rationality. As a result, these moral theories are, despite their differences, equally and seriously marked for reliance on what I will call "the rationality premise". In this work I explain how it is that said reliance guarantees that a theory is impervious to demonstration of soundness. (...) My conclusion deals a serious blow to any theory which relies on the aforementioned premise. (I elsewhere defend an "alternative rights theory" which does not turn on the unique value of rationality, or reason. The work at hand provides the groundwork necessary to a move away from longstanding insistence on human superiority in the carving out of moral theory. (shrink)

Thomas Nagel argues that Aristotle identifies rationality as the ergon idion of the human being. Against Nagel, I defend a reading of Aristotle which depicts a complex human ergon. This complex identity involves desire. It is in Book X of the Nichomachean Ethics that my understanding of Aristotle's position is clinched.

I take issue with an argument to the effect that because contractualism proves--both practically and theoretically--the philosophically superior moral theory, we have the result that nonhuman animals can have no, nor ought be extended any, moral standing. The combined argument belongs to Peter Carruthers, and appears in his The Animals Issue. My response involves demonstration that on careful analysis contractualism fares even less well than the two theories against which Carruthers compares it--rights and utilitarian. Furthermore, I offer a sketch of (...) a theory which does not fall for reliance on a singularly problematic premise--a premise which plays pivotally in traditional contractualist, rights and utilitarian accounts. The upshot is that this "alternative rights theory" fares best in reflective equilibrium analysis as against not only those theories Carruthers decries, but contractualism as well. We are, it appears, drawn back to the nagging question of whether and how things nonhuman may matter morally. For, Carruthers conclusion is disallowed. That the alternative rights theory offers novel yet satisfactory means by which to account for moral motivation and knowledge, as well as differences in moral respect due morally relevant beings, is explored. That the theory avoids the troublesome pitfalls of intuitionism and supervenience further secures its frontrunning position--which, again, begins to indicate that and how more than solely humans are of moral relevance. (shrink)

The doctrine of the moral equality of combatants holds that combatants on either side of a war have equal moral status, even if one side is fighting a just war while the other is not. This chapter examines arguments that have been offered for and against this doctrine, including the collectivist position famously articulated by Walzer and McMahan’s influential individualist critique. We also explore collectivist positions that have rejected the moral equality doctrine and arguments that some individualists have offered in (...) its favor. We defend a non-categorical version of the moral equality doctrine, according to which combatants on either side of a just war sometimes (but not always) have equal moral status. On our view, some degree of culpability is necessary for liability, and non-culpable combatants may therefore sometimes remain non-liable even when they fight for an unjust cause. (shrink)

The Protein Ontology (PRO; http://proconsortium.org) formally defines protein entities and explicitly represents their major forms and interrelations. Protein entities represented in PRO corresponding to single amino acid chains are categorized by level of specificity into family, gene, sequence and modification metaclasses, and there is a separate metaclass for protein complexes. All metaclasses also have organism-specific derivatives. PRO complements established sequence databases such as UniProtKB, and interoperates with other biomedical and biological ontologies such as the Gene Ontology (GO). PRO relates to (...) UniProtKB in that PRO’s organism-specific classes of proteins encoded by a specific gene correspond to entities documented in UniProtKB entries. PRO relates to the GO in that PRO’s representations of organism-specific protein complexes are subclasses of the organism-agnostic protein complex terms in the GO Cellular Component Ontology. The past few years have seen growth and changes to the PRO, as well as new points of access to the data and new applications of PRO in immunology and proteomics. Here we describe some of these developments. (shrink)

According to authoritative Christian teaching, Jesus Christ is a single person existing in two natures, divinity and humanity. In attempting to understand this claim, the high-scholastic theologians often asked whether there was more than one existence in Christ. John Duns Scotus answers the question with a clear and strongly-formulated yes, and Thomists have sometimes suspected that his answer leads in a heretical direction. But before we can ask whether Scotus‘s answer is acceptable or not, we have to come to a (...) clear understanding of what his answer is. And before we can ask what his answer is, we have to come to a clear understanding of what question or questions he is trying to answer. In this paper I begin by explaining that the question about Christ‘s existence is ambiguous, i.e., that there are actually two questions hidden behind one formulation. Next I look at Scotus‘s writings on the topic in order to determine which question he is really trying to answer, and I argue that he is trying to answer both of them, even though he does not make this clear. Third, I provide an initial look at the answers that he gives. Fourth, I explain why these answers might seem problematic, especially from a Thomistic perspective. Fifth, I explain Scotus‘s answers in more detail and show that they are not problematic in the way that some Thomists have held. Indeed, at least some of Scotus‘s ideas are the very same ideas that Thomas spells out in one of his works. (shrink)

The Protein Ontology (PRO; http://purl.obolibrary.org/obo/pr) formally defines and describes taxon-specific and taxon-neutral protein-related entities in three major areas: proteins related by evolution; proteins produced from a given gene; and protein-containing complexes. PRO thus serves as a tool for referencing protein entities at any level of specificity. To enhance this ability, and to facilitate the comparison of such entities described in different resources, we developed a standardized representation of proteoforms using UniProtKB as a sequence reference and PSI-MOD as a post-translational modification (...) reference. We illustrate its use in facilitating an alignment between PRO and Reactome protein entities. We also address issues of scalability, describing our first steps into the use of text mining to identify protein-related entities, the large-scale import of proteoform information from expert curated resources, and our ability to dynamically generate PRO terms. Web views for individual terms are now more informative about closely-related terms, including for example an interactive multiple sequence alignment. Finally, we describe recent improvement in semantic utility, with PRO now represented in OWL and as a SPARQL endpoint. These developments will further support the anticipated growth of PRO and facilitate discoverability of and allow aggregation of data relating to protein entities. (shrink)

Jason Brennan and Phillip Magness (2018) and (2020) argue that adjuncts are not exploited. We are sympathetic to some of their points. We agree, for example, that certain ways in which adjuncts are compared to sweatshop workers are offensive. For, as Brennan and Magness point out, there are many respects in which adjuncts are much better off than sweatshop workers. However, we show that the core insights of their paper are compatible with the view that adjuncts are exploited. Furthermore, their (...) more general views about exploitation expressed in Cracks in the Ivory Tower actually lend support to the claim that adjuncts are exploited. (shrink)

Paunang Salita Ang kasalukuyang aklat ay produkto ng masigasig na pagsusumikap ng mga mag-aaral ng BA Kasaysayan sa Politeknikong Unibersidad ng Pilipinas, Sta. Mesa sa ilalim ng klase na Historiograpiya ni Dr. Zeus A. Salazar. Tinatangka nitong maitala para sa salinlahi ang mga kaganapan sa kanilang suplemental na klase tuwing Martes sa Bahay Escaler, ang tahanan ng kanilang Guro. -/- Magkagayumpaman, hindi ito talaga maitatangi sa mahabang kasaysayan ng pagtuturo ni Salazar. Ang pagkakatitikan/pagpapakatitikan higit sa lahat ay isa nang signature (...) style sa pagtuturo ni Salazar mula pa noong dekada 1970. Mababanggit din ang kinagawian niyang pagdaragdag ng oras labas sa opisyal na oras ng klase upang magpalalim ng mga paksang inaral sa loob nito, kung hindi man sa mga kapihang matatagpuan sa kaligiran ng U.P. Campus kung saan siya nagturo nang may 40 taon, at sa Bahay Gomburza mismo, ang dating tahanan ni Salazar. (shrink)

Der Kerngedanke der politischen Theorie des Wilhelm von Humboldt ist äußerst schlicht und übersichtlich: In seinen "Ideen zu einem Versuch, die Gränzen der Wirksamkeit des Staats zu bestimmen" heißt es, dass die Funktion des Staats auf die Erhaltung der inneren und auswärtigen Sicherheit beschränkt werden soll. Diese Staatsauffassung findet ihre Begründung in einer Anthropologie, die dem Menschen das Recht und zugleich die Aufgabe zuweist, durch das spontane Zusammenwirken mit den anderen seine Potenzialitäten zur Entfaltung zu bringen. Schlicht und übersichtlich wie (...) diese Staats- und Menschenlehre auch scheinen mag, ist es an ihr außerordentlich interessant, einerseits welche Leitgedanken ihr zugrunde liegen, und andererseits welche theoretischen Neuigkeiten sie erzielt. Hier möchte ich insbesondere vier Aspekte hervorheben: 1- Individualismus: Der Angelpunkt der gesamten Philosophie Humboldts ist das Individuum, aus dem allerdings nie ein selbstgenügsames Subjekt wird; 2- Liberalismus: Humboldt formuliert als erster den Katalog der Motive des Liberalismus des 19. Jahrhunderts; 3- Gesetzmäßigkeitsprinzip: im Sinne seiner Ausformulierung des Rechts- und Freiheitsbegriffs erarbeitet Humboldt ein Gesetzmäßigkeitsprinzip anthropologischen Charakters; 4- Legitimationsprinzip: in Anlehnung an die Prämissen, aus denen sich das neue Gesetzmäßigkeitsprinzip ergibt, setzt Humboldt ein neues Legitimationsprinzip, das unserem Begriffspaar „materielle Verfassung-formelle Verfassung“ sehr ähnelt. (shrink)

Egal was der heutige Tag auch bringen mag, der 1. April 2063 wird zumindest als der Tag in die Geschichte des Wissenschaftsjournalismus eingehen, der die bisher aufwändigste Berichterstattung erfahren hat. So viele Kamerateams, wie hier vor den Toren der Australian National University in Canberra, hat bisher kein wissenschaftliches Experiment anziehen können. Selbst der Knüller des Vorjahres, als es einer 48jährigen Hausfrau in einem Vorort von London gelang, mit einfachsten Küchenutensilien einen kleinen Kalte-Fusion-Reaktor herzustellen, der den Staubsauger und die Mikrowelle zuverlässig (...) mit sauberer Energie versorgte, hatte bei weitem nicht ein solches Echo in der Wissenschaftspresse erfahren. Es war zwar noch nichts über den Experimentausgang zu erfahren, trotzdem wurde freilich seit drei Tagen ununterbrochen live auf fast allen Kanälen aus Canberra darüber berichtet, dass nun zwar noch nichts zu erfahren sei, dass es aber ja sehr bald soweit sein müsse. Das Experiment, dessen Ausgang man hier so gespannt erwartete, war schon im Vorfeld hitzig diskutiert worden und überhaupt nur durch einen Sonderbeschluss der Vereinten Nationen zustande gekommen. Immerhin läuft die Vorbereitung bereits seit fast 30 Jahren, als sich mehrere Philosophen und Bürgerinitiativen zusammenschlossen, die UNO um eine endgültige Klärung einer der ältesten Fragen der Menschheit zu bitten: Was ist Bewusstsein? Und insbesondere: Ist Bewusstsein etwas anderes als physikalisch beschreibbare Zustände unseres Gehirns, oder sind alle Tatsachen letztlich physikalische Tatsachen? Dass diese Fragen trotz ihres Ehrfurcht einflößenden Alters zunehmend auf den Nägeln brannten, hatte nicht zuletzt die jüngste Entwicklung der Computertechnologie befördert. Nachdem die KI in den letzten Jahrzehnten einen großen Schritt vorwärts gemacht hatte, war man in Sorge, dass ohne endgültige begriffliche Klärung dieser Fragen unser zukünftiger Umgang mit unseren elektronischen Helfern auf moralisch unsicherem Boden stehen könne. Man hatte sich daher nach langer Abwägung der ethischen Aspekte dieses Experiments dazu entschieden, ein gerade neugeborenes Waisenkind in einem völlig schwarz-weiß-grauen Raum groß werden zu lassen, sorgsam darum bemüht, dass die kleine Mary (so hatte man das Mädchen in Anlehnung an die Protagonistin einer fiktiven philosophischen Geschichte genannt) keine Farben zu Gesicht bekommt.. (shrink)

Nach Morton White können wir die holistische Quine/Duhem-These auf ethische Sätze genauso anwenden wie auf wissenschaftliche. Demzufolge mögen sich die meisten ethische Sätze zwar nicht einzeln testen lassen, wohl aber im Zusammenhang einer kompletten Theorie, die sowohl deskriptive als auch normative Sätze enthält. Ich diskutiere zwei Vorschläge dafür, wie dieser Vergleich durchbuchstabiert werden könnte. Laut Whites eigenem Vorschlag lassen sich einige normative Konsequenzen des Gesamtsystems durch Konfrontation mit den emotionalen Reaktionen des Sprechers testen. Laut meinem Vorschlag sind einige normative Konsequenzen (...) des Systems bereits Beobachtungssätze in Quines Sinn und können genauso getestet werden wie naturwissenschaftliche Beobachtungssätze, nämlich durch Sinneserfahrung. Kurzum, es gibt moralische Beobachtungssätze. Quine bezeichnet diejenigen Sätze als Beobachtungssätze, die alle anwesenden Sprecher einer Gemeinschaft stets gleich beurteilen und die der einzelne Sprecher ausschließlich aufgrund momentaner Sinnesreizung bejaht oder verneint (also unabhängig von Hintergrund-Informationen). In Quines Argument gegen moralische Beobachtungssätze steckt folgender Fehler: Quine glaubt, dass sich moralische Fragen immer nur angesichts von Hintergrund-Informationen beurteilen lassen. Bei vielen moralischen Sätzen mag das so sein; aber es gibt Gegenbeispiele, in denen Hintergrund-Informationen ausgeschaltet sind, z.B. "Dies ist sichtbares Unrecht". (shrink)

Neidische Gedanken, neidische Gefühle, neidische Menschen sind im alltäglichen Leben gegenwärtig. Kaum vergeht ein Tag, an dem man nicht mit dem Phänomen des Neides konfrontiert wäre. Bei sich selbst mag man ihn schon gar nicht, denn der Neid ist ein schmerzliches und unschönes Gefühl. Obwohl der Neid ein alltägliches Phänomen ist, bleibt er im Alltag ein weitgehend tabuisiertes Thema: Über den Neid spricht man entweder gar nicht oder nur selten. Falls man doch über den Neid spricht, dann zumeist über den (...) Neid der Anderen. Den Neid der Anderen kann man nämlich als einen gewissen Triumph verbuchen: entweder als eine Art von Anerkennung des eigenen sozialen Status oder als ein Genuss dessen, was man bei den Anderen an Neid erregenden Gütern vorzuweisen hat. Der kleine Mann erfreut sich am Neid der Anderen. Entfremdet von der unmittelbaren Freude am eigenen Tun und Lassen sowie von den Früchten seiner Arbeit kann er sie nur noch auf dem Umweg über die Erniedrigung der Anderen erleben. Der Spießer braucht den neidischen Blick der kleineren Anderen, um zu bemerken, was er ist und was er hat. Denn der Spießer weiß nicht, wer er ist, und weil er nicht weiß, wer er ist, muss er ersatzweise wenigstens wissen, was er ist, und er ist vor allem das, was er erreicht hat und was er hat. (Einleitung). (shrink)

Corruption devours profts, people, and the planet. Ethical leaders promote ethical behaviors. We develop a frst-stage moderated mediation theoretical model, explore the intricate relationships between ethical leadership (member rated, Time 1) and employee ethical behaviors (leader rated, Time 3), and treat ethical climate and organizational justice (member rated,Time 2) as dual mediators and leaders’ moral attentiveness (leader rated, Time 3) as a moderator. We investigate leadership from two perspectives—leaders’ self-evaluation of moral attentiveness and members’ perceptions of ethical leadership. We theorize: (...) These dual mediation mechanisms are more robust for high moral leaders than low moral leaders. Our three-wave data collected from multiple sources, 236 members and 98 immediate supervisors in the Republic of Iraq, support our theory. Specifcally, ethical leadership robustly impacts organizational justice’s intensity and magnitude, leading to high employee ethical behaviors when leaders’ moral attentiveness is high than low. However, ethical leadership only infuences the ethical climate’s intensity but has no impact on the magnitude when leaders’ moral attentiveness is high than low. Therefore, organizational justice is a more robust mediator than the ethical climate in the omnibus context of leader moral attentiveness. Our fndings support Western theory and constructs, demonstrating a new theory for Muslims in Arabic’s emerging markets. Individual decision-makers (subordinates) apply their values (ethical leadership) as a lens to frame their concerns in the immediate (organizational justice and ethical climate) and omnibus (leader moral attentiveness) contexts to maximize their expected utility and ultimate serenity-happiness. Ethical leadership trickles down to employee ethical behaviors, providing practical implications for improving the ethical environment, corporate social responsibility, leader-member exchange (LMX), business ethics, and economic potentials in the global competitive markets. (shrink)

Blumenbergs Paradigmen zu einer Metaphorologie sind bekannt für die Entdeckung absoluter Metaphern. Zahlreiche systematische Fragen mögen dabei offen geblieben sein, etwa die nach verschiedenen Typen1 von Metaphern oder den Methoden ihrer Interpretation, so dass schon bezweifelt wurde, ob es sich überhaupt um eine Metapherntheorie handle.2 Immerhin: Dass es absolute Metaphern gibt, was diese sind und woran sie erkannt werden können, wird von Blumenberg in großer Prägnanz und anhand zahlreicher Beispiele dargestellt. Wenn es eine unangetastete Gewissheit in der Blumenbergrezeption gibt, so (...) scheint sie hierin zu finden zu sein. Dennoch möchte ich erneut die Frage an Blumenbergs Text stellen: In welchem Sinn ist eine Metapher absolut? Auf den ersten Blick mag diese Frage überraschen, da sie einen der offensichtlichsten Gedanken Blumenbergs berührt: Eine absolute Metapher ist nach Blumenberg eine solche, die sich nicht in Begriffe rückübersetzen lässt. In diesem Sinne wird sie von ihm als absolut charakterisiert. Warum halte ich dennoch diese Frage für berechtigt? Das wird am besten anhand einer Alternative verdeutlicht: Ist die absolute Metapher ein Ausdruck in einem fremden Kontext, wie Blumenbergs zahlreiche Exempel nahelegen (die Kraft der Wahrheit, die nackte Wahrheit), oder ist die absolute Metapher gleichsam die jeweilige ganze Theorie, bündelt sich in ihr der gesamte Text? Auf den ersten Blick mag diese Alternative paradox erscheinen. Vorgreifend sei der ihr zugrundeliegende Gedanke erläutert: Blumenbergs Darstellung der Fundstellen legt zunächst die erste Lesart nahe. Demnach wäre die absolute Metapher das Vorkommen eines Ausdrucks (wie »Kraft« oder »nackt«) in einem Kontext, in den sie zunächst nicht passt (Wahrheit). Die Metapher wäre dann zwar nicht ein Ausdruck allein, sondern ein Ausdruck in einem ihm fremden Kontext; sie wiese jedoch Grenzen auf. Wie unbestimmt diese auch verliefen, ob sie weiter oder enger anzusetzen wäre, sie wäre lokalisier- und daher identifizierbar. Die zweite Lesart motiviert sich zunächst dadurch, dass Blumenberg vorführt, dass eine absolute Metapher gegeben sein kann, ohne dass sie als Ausdruck in einem Text vorkommt. Sie bildet dann dessen »implikatives Modell«; das heißt, sie stellt den Hintergrund der Begriffsbildung dar und entwirft das Verhältnis von Selbst und Welt. Was zunächst einen Sonderfall darstellt (Metapher ohne Ausdruck), verweist jedoch auf eine allgemeine Eigenschaft absoluter Metaphern bei Blumenberg: Diese sind Modelle für das Verhältnis von Ich und Welt und erfüllen dadurch theoretische und pragmatische Funktionen. Als solche ist die absolute Metapher nicht auf ein lokales Vorkommen begrenzt, sondern durchdringt den Text als solchen. Beide Möglichkeiten stehen in einem Gegensatz zueinander. Gleichwohl gibt es einen ver- mittelnden Gedanken: Die absolute Metapher (als Strukturzusammenhang des gesamten Textes verstanden) kann sich gleichsam in einem Ausdruck manifestieren, verdichten und selbst bezeichnen. Aber das Vorkommen von absoluten Metaphern wäre an das Vorkommen von Ausdrücken in einem fremden Kontext nicht gebunden. Die Diskussion dieser Frage steht im Zentrum des Beitrags (Abschnitte 1–2), sie hat Konsequenzen für zwei Gedanken (Abschnitte 3–4), die in ihrem Licht vielleicht klarer hervortreten. (shrink)

Bilang “kathang-buhay” ni Zeus A. Salazar, ang tinaguriang Ama ng Pantayong Pananaw (PP) at ng Bagong Historiograpiyang Pilipino, hindi mauunawaan ang PP nang hiwalay sa kanyang akademikong talambuhay. Kaya naman mainam na baybayin angkasaysayan ng Pantayong Pananaw sa konteksto ng kapantasanni Salazar. Maaaring hatiin ang kasaysayan ng PP sa konteksto ng kapantasan ni Salazar sa limang yugto, gamit ang metapora ng paglago ng halaman: 1. Panahon ng Pagpupunla ng mga ideyang magiging batayang kaisipan ng PP sa hinaharap, mula sapagpasok ni (...) Salazar sa Unibersidad ng Pilipinas (PP) bilang magaaral ng kasaysayan (1951) hanggang sa pagkakalimbag ngkanyang Ang Pagtuturo ng Kasaysayan sa Pilipino (1970), maaari itong bansagan bilang “Yugtong Pre-Pantayo”; 2. Panahon ng Pag-uugat ng PP sa UP mula sa pagkakalimbag ng artikulo ukol sa wikang Filipino (1970) hanggang sa pagdaraos ng Unang Pambansang Kumperensya sa Historiograpiyang Pilipino, kaalinsabay ng paghirang sa kanya bilang dekano ng Dalubhasaan ng Agham Panlipunan at Pilosopiya at pagdaraos ng (1989), 3. Panahon ng Pagsibol ng PP sa UP na tumutukoy sa institusyunalisasyon nito sa UP Departamento ng Kasaysayanmula sa kumperensyang ito (1989) hanggang sa pagkakalimbag ng Pantayong Pananaw: Ugat at Kabuluhan (1997), 4. Panahon ng Pagyabong ng PP sa labas ng UP mula sa pagkakalimbag ng aklat (1997) hanggang sa paglulunsad ng Saliksik E-Journal (2012), at 5. Panahon ng Pamumunga mula sa paglulunsad ngSaliksik E-Journal (2012) hanggang sa pagtatapos ng pagtuturo ni Salazar sa Politeknikong Unibersidad ng Pilipinas (2019). (shrink)

Der Neid wirft als Thema der philosophischen und psychologischen Reflexion eine ganze Reihe von Fragen auf, die theoretischer Natur sind. Dazu gehören die Frage nach der Analyse des alltagspsychologischen Neidbegriffes, die damit verbundene Frage nach der Abgrenzung des psychologischen Phänomens des Neides im Verhältnis zu verwandten Emotionen, wie z.B. Eifersucht, Habgier, Ehrgeiz, Wetteifer, Geiz, etc., die Frage nach dem Wesen des Neides als einem reflexartigen und unkontrollierbaren Affekt, als einer dauerhaften und unbewussten Stimmung, als einem momentanen, intentionalen und bewussten Gefühl, (...) als einem selbst erzeugten Konstrukt aus Gedanken und Gefühlen, etc. und schließlich die Frage nach den Ursachen des Neides als einem gewissen Mangel an Selbstsein und als Folge einer langfristig scheiternden Selbstverwirklichung. -/- Der Neid wirft als Thema der philosophischen und psychologischen Reflexion aber auch verschiedene Fragen auf, die praktischer Natur sind. Diese Fragen gehören weitgehend in dem Umkreis der Probleme der philosophischen Lebenskunst. Zu den Fragen der philosophischen Lebenskunst, der ars vivendi, die als die wohl wichtigste menschliche Kunst auch die philosophische Kunst des Alterns und Sterbens, die ars moriendi umfasst, gehört einerseits das Problem der Abwehr der Neider durch die Beneideten und andererseits das Problem der Überwindung des Neides beim Neider selbst. In der Geschichte der europäischen Philosophie wurden seit der Antike vor allem immer wieder lebensphilosophische Ratschläge zur Bewältigung beider Probleme erteilt. Dabei standen jedoch die Ratschläge zur Abwehr der Neider im Vordergrund. Das kommt weitgehend daher, dass vor allem in der Antike, aber auch im Mittelalter und selbst noch in der Neuzeit diese Art von Literatur den Begüterten und Gebildeten diente, die auf Grund ihrer privilegierten sozialen Stellung im Großen und Ganzen eher ein Interesse an der Abwehr der Neider als an der Neidüberwindung hatten. Dennoch darf man nicht meinen, dass diese klassischen Autoren und ihre Leser selbst ganz ohne äußere und innere Anlässe für Neidgefühle und -gedanken gewesen wären. Deswegen darf man vermuten, dass auch die Scheu davor, sich selbst als einen gewohnheitsmäßig neidischen Menschen oder zumindest als einen Gelegenheitsneider zu präsentieren, dazu geführt haben mag, dass man sich aus einem gewissen Selbstschutz zurückgehalten hat, Überlegungen und Ratschläge zur Überwindung des eigenen Neides öffentlich zu äußern und zu erörtern. (Einleitung). (shrink)

Bolzano hat seine Wahrscheinlichkeitslehre in 15 Punkten im § 14 des zweiten Teils seiner Religionswissenschaft sowie in 20 Punkten im § 161 des zweiten Bandes seiner Wissenschaftslehre niedergelegt. (Ich verweise auf die Religionswissenschaft mit 'RW II', auf die Wissenschaftslehre mit 'WL II'.) In der RW II (vgl. p. 37) ist seine Wahrscheinlichkeitslehre eingebettet in seine Ausführungen "Über die Natur der historischen Erkenntniß, besonders in Hinsicht auf Wunder", und die Lehrsätze, die er dort zusammenstellt, dienen dem ausdrücklichen Zweck, mit mathematischem Rüstzeug (...) Lehrmeinungen entgegentreten zu können, gemäß denen Wundererzählungen keine Glaubwürdigkeit zukommen könne. In der WL II (vgl. p. 171) führt Bolzano im großen und ganzen dieselben Lehrsätze an wie in der RW II, entwickelt nun aber die Wahrscheinlichkeitslehre innerhalb seiner Lehre von den Sätzen an sich. Dabei orientiert er sich zwar durchaus an den Lehrsätzen in den damaligen "Schriften über die Wahrscheinlichkeitsrechnung" (vg. WL II, p. 190), korrigiert aber dort, wo es ihm nötig erscheint (vgl. WL II, pp. 187–191), und leistet so im Grunde eine Reformulierung des elementaren Teils der Wahrscheinlichkeitslehre seiner Zeit innerhalb seiner logischen Theorie von den Sätzen an sich. — Ich bezwecke hier keine historische Studie über Bolzanos Wahrscheinlichkeitslehre, obwohl es von Interesse sein mag, herauszuschälen, worin Bolzano mit welchen Wahrscheinlichkeitstheoretikern seiner Zeit übereinstimmt, und worin nicht, insbesondere welche Schwächen von Bolzanos Wahrscheinlichkeitslehre Schwächen aller damaligen Wahrscheinlichkeitslehren waren. Eine wichtige systematische Studie über Bolzanos Wahrscheinlichkeitslehre bestünde — wie von Berg (1962, pp. 148-149) ansatzweise begonnen — in einer exakten Rekonstruktion seiner Wahrscheinlichkeitslehre innerhalb eines konsistenten logischen Systems der Sätze an sich. Ich werde im folgenden etwas bei weitem Bescheideneres, doch möglicherweise durchaus Fruchtbares versuchen, nämlich die Lehrsätze von Bolzanos Wahrscheinlichkeitslehre in die Sprache einer heutigen Wahrscheinlichkeitstheorie zu übersetzen und die übersetzten Lehrsätze dort herzuleiten, soweit dies möglich ist. Man könnte dann in einem zweiten Schritt, der hier nicht mehr unternommen wird, untersuchen, inwieweit jene Thesen, die den Herleitungstest überstanden haben, jenen Zweck erfüllen, den Bolzano ihnen ursprünglich zugedacht hat: als mathematisches Rüstzeug für seine Argumentationen gegen die Auffassung zu dienen, Wundererzählungen könnten nicht glaubwürdig sein. (shrink)

Taong 2019 nang magsimula ang paglaganap ng COVID-19 sa Pilipinas, kaya samu’t saring mga impormasyon ang ipinakalat sa bansa upang maiwasan ang pagkalat ng virus lalo na sa mga lugar na matataas ang bilang ng nag positibo, gaya na lamang sa Lungsod ng Quezon. Hinggil rito, ang saliksik na ito na naglalayong malaman at maitala ang Gampanin ng Wikang Filipino sa pag papalaganap ng impormasyon patungkol sa COVID-19. Upang matugunan ang mga hinihingi sa pananaliksik, ito ay gagwin sa deskriptibong paraan, (...) mag o-obserba ang mga mananaliksik sa mga post mula sa mga social media sites ng Lokal na Pamahalaan ng Lungsod ng Quezon, upang malaman ang ginampanan ng Wikang Filipino sa pagpapalaganap ng impormasyon patungkol sa COVID-19. Bilang proseso sa pagkalap ng mga datos, naghanap ang mga mananaliksik ng mga pages o sites na minamanipula ng Lokal na Pamahalaan ng Lungsod ng Quezon na pinagkunan ng mga post na pumapatungkol sa COVID-19. Mula rito makakagawa ang mga mananaliksik ng content analysis mula sa mga post sa iba’t ibang sites kung paano nagamit ang Wikang Filipino at kung paano ito nakatulong upang mas maiwasan pa ang paglaganap ng virus sa Lungsod ng Quezon. Sa saliksik na ito natuklasan na hindi lamang ang Filipino ang ginamit, marami sa mga post na nakalap ay nasa Tag-lish o pinaghalong Filipino at English, dahil sa bago ito sa mga tao, nilayon ng pamahalaan at maging ang Komisyon ng Wikang Filipino na gamitin ang Wikang Filipino dahil hindi lahat ay may kakayahang umintindi ng wikang banyaga. Gayunpama’y nagkaroon din ng ambag ang wikang Ingles dahil maraming pagkakataong gumamit ng mga teknikal na termino na kadalasang maririnig natin sa agham. Nakatutulong ang saliksik na ito upang mas mabigyang linaw ang ginampanan ng wika at sa kung paano nagiging epektibo ang mga pabatid upang maiwasan ang COVID-19. (shrink)

Die Transzendentalpragmatik beansprucht, jeden beliebigen Opponenten, der bestimmte nichtverwerfbare Präsuppositionen des Argumentierens bestreitet, eines performativen Selbstwiderspruchs überführen zu können. Die Diagnose performativer Widersprüche ist indes theoretisch voraussetzungsreich, denn sie findet in einem begrifflichen Rahmen statt, der sich aus nichttrivialen sprechakt-, rationalitäts-, bedeutungs- und argumentationstheoretischen Annahmen zusammensetzt. Das Argument einer anderen möglichen Vernunft ist gegen den Letztbegründungsanspruch der Transzendentalpragmatik gerichtet: Was heute als ein performativer Widerspruch zählt, mag aus der Perspektive einer anderen möglichen Vernunft keiner mehr sein. Im Beitrag wird die (...) Relevanz des Einwands einer anderen möglichen Vernunft bestritten. Der Nachweis der aktuellen Nichtverwerfbarkeit einer Präsupposition des Argumentierens braucht die Revidierbarkeit des begrifflichen und rationalitätstheoretischen Rahmens nicht auszuschließen. Mithilfe einer messtheoretischen Analogie wird gezeigt, dass die Revision eines Rahmens im alten Rahmen formulierte Aussagen ebensowenig falsch macht wie die Veränderung eines Maßstabs frühere Messungen. -/- . (shrink)

Katulad ng laging binabanggit ni Prop. Michael Charleston B. Chua ng Pamantasan ng De La Salle, "Hindi man ako naging direktang naging mag-aaral ni Dr. Salazar, mapalad pa rin akong nakilala ko siya at natuto ng kahalagahan ng Pantayong Pananaw." Marahil ito rin ang sumasambulat sa mga nais maging mag-aaral ng paham na si Salazar. Isang metapora ng kometa o isang bakunawa ang pagdating ng isang Dr. Salazar sa Sintang Paaralan partikular na sa Kagawaran ng Kasaysayan dahil pinagyaman niya/tinutulungang makaalpas (...) ang ningning ng aming kagawaran tungo sa mayamang pag-aaral sa kasaysayan. (shrink)